Sense and Sensibility (1995) - Sisters and Silence

Sense and Sensibility - Patrick Doyle

day we will be looking at the: 1995

This particular adaptation has a special place in my heart. For one, it was my introduction to Jane Austen right around my 13th birthday. Two, it was one of the first soundtracks that I bought. While many friends grew up on John Williams, my teenage years were exposed to Patrick Doyle’s music between this movie and his two Shakespeare movies previous to this one: Henry V and Much Ado about Nothing. In fact, I remember listening to the tape of Much Ado about Nothing in the car as my Dad tried to explain the plot on our drive to school.

kespeare stage productions in: 1987

This movie was part of the beginning of the Golden Age of Austen adaptations in the 90s and came out of the same studio, Columbia Pictures, as Little Women that had come out the previous year. In fact, Little Women did so well that they decided to use some of the title music from Little Women for the trailer of Sense and Sensibility, hoping it would appeal to the same audience. It’s pretty rare to have music from the actual movie as part of the trailer unless it is part of a series or franchise so it makes sense from a marketing frame even though it is a slightly different sound that what happens. The trailer is up on YouTube which is quite amusing if you want to listen to the whole thing.

While Patrick Doyle’s style is a bit more theatrical in nature than the previous Austen adaptations we have looked at or more like Puccini in both melodic quality but also in moving the emotions, he was asked to be a bit more restrained to reflect the British reserve shown particular in Elinor but also the society as a whole. Emotional bursts appear near the end and so the music tells the story in its own way. The style often seems to reflect Elinor while much of the themes are Marianne’s songs telling their journey. This movie also has quite a lot of silence in letting the dialogue and comedy speak for itself. That means that the moments that do have music are telling the story either in the romantic relationships and growth or taking you to a new place such as Devonshire or London.

The style of music is in keeping with the time period in that it does emulate much of the classical era, particularly Mozart in the choice of instrumentation and style especially in the piano works. There is a cleanness in the equal phrasing, rhythmic clarity, and using techniques such as suspensions. While the size of the orchestra and string sections are fitting within the modern context, as well as the sound of the modern piano, that is also often the case for most ensembles playing Mozart, Haydn, and Beethoven today. Added to these are the solo winds, particularly flute, oboe, and clarinet combined with French Horns. This matches the traditional orchestral sound of that time which would then have trumpets or timpani for special moments but not as a whole.

“My Father’s Favorite” is one of the pieces that emulates Mozart the most and introduces the setting and mood by being in the opening titles. It has a calmness and peaceful quality to it to sets the audience at rest, most of it being in solo piano with a few winds and accompanying strings. Unfortunately, this is one of the few parts that are not on the soundtrack but it does come back later in a slightly different orchestration. “My Father’s Favorite” In many ways, it seems to emulate a second movement of a Mozart piano concerto, with the piano being accompanied by the orchestra.

guitar and strings doing the: 1700

One of the things that makes Sense and Sensibility stand out in the Jane Austen adaptations is that all the songs, piano music, and ballroom music are written by the composer. This is pretty common in Patrick Doyle’s music to write the majority of balls and songs yet most Austen adaptations might have the occasional special dance written by the composer or the piano music such as in the mini-series of Sense and Sensibility but usually the rest are folk tunes or classical music to help give it a grounding in the Regency world. Instead, while it emulates the classical style, it also gives it a cohesive sound throughout as well as being diegetic, being music from the world heard by the characters instead of just accompanying the world.

“My Father’s Favorite” is the first of these. Not only is it played for the opening credits but Marianne plays this piece on pianoforte (or at least what looks like one even if it doesn’t sound like one) as Edward comes across Elinor mourning her father. This becomes a connection for them as he can understand the loss of a father and he seeks to provide comfort and a listening ear as we see them talk regarding Margaret, piracy, looking at the future, and feeling slightly trapped by their options while the theme continues adding in orchestral instruments as they are riding on horses. It also seems fitting that the piece that most reflects the Classical era should in fact accompany the two who are very dutiful and slightly reserved as it also reflects order and certain musical rules and yet the souring melody matches for them falling in love. The classical era started to create structures to their pieces and this one fits into that with having an ABA structure which means that the middle section is different and often minor with the main melody returning again afterwards. There are also a lot of suspensions with the dissonant notes resolving in a very similar way to Mozart’s music. “first part of My Father’s Favorite…from Patrick Doyle’s solo album”

Doyle, solo piano” put out: 2015

This change from what is in the movie and what is heard on the soundtrack does remind me a bit of John Williams who will include his orchestral arrangements on his albums instead of what is actually in the film such as Leia’s theme in A New Hope or even the full track of Hedwig’s Theme for the first Harry Potter film. We usually expect that everything that is on the soundtrack will be in the movie and vice versa but that is not always the case. There are a handful of other tracks here in Sense and Sensibility which may have been written for the movie but then not included such as “Preying Penniless woman” and “Felicity” and even several other tracks where only a portion of it is used instead of the whole thing. As someone who has listened to the soundtrack extensively over the years, I was actually surprised how many parts I couldn’t find in the actual film. My guess is that Doyle wrote more for the film and then they decided to go with more silence to let the humor, the words, or the emotions speak for themselves.

The middle section of “My Father’s Favorite” is heard once more in “All Delights of the Season” as they head towards London in the carriage. Here, Lucy is telling Elinor how “delighted” Edward would be to hear that they are friends, explaining that she has no cause for jealousy and yet definitely is. The theme brings back all those conversations with Edward back to Elinor while she pretends to be disinterested with Lucy’s jabs. This part of the theme originally played as Edward shared his dream of a quiet life as a clergyman now switching to Elinor hearing Lucy’s dreams and exultations. This time it is accompanied by a harp instead of piano arpeggios with the flute and strings playing the melody. The flute is used quite a lot in this soundtrack for many of the melodies often mixed with the violins in the same range to add a different color. This is the last time any version of “My Father’s Favorite” is heard in the story. (0:04)

ing to the Queen’s death in: 1603

The lyrics go as follows:

Weep you no more, sad fountains;
What need you flow so fast?
Look how the snowy mountains
Heaven’s sun doth gently waste.
But my sun’s heavenly eyes
View not your weeping,
That now lie sleeping
Softly, now softly lies
Sleeping.

Sleep is a reconciling,
A rest that peace begets.
Doth not the sun rise smiling
When fair at even he sets?
Rest you then, rest, sad eyes,
Melt not in weeping
While she lies sleeping
Softly, now softly lies
Sleeping.

Here is the original Dowland piece played by the Consort of Musike:

Kate Winslet’s performance of the song is not featured on the soundtrack but instead is heard by opera singer Jane Eaglen. The second song, The Dreame, is in the end credits while “Weep you no more” is not but it makes sense to have both recorded for the soundtrack when you have a world class singer. At least they didn’t go the popular way of using pop music for the end credits like many other movies. That would truly have been jarring. I will say that these two performances match a little more of Doyle’s usual style of writing in the orchestra. On thing to pay attention is the text painting in the melody as it falls with the words “Softly, now softly lies sleeping.”

This song is one of the most frequently used of all the themes and motifs throughout Sense and Sensibility, particularly for Marianne’s journey of love. It is first heard in harp, flute, and clarinet as she enters Elinor’s bedroom reading a Shakespeare sonnet. There is a charming romantic idealism heard as she believes Elinor is in love although a bit disappointed with the dispassionate response.

We then hear her sing this song at the Middletons when Colonel Brandon first sees her. The clarinet continues with this theme as the audience sees him cleaning out his gun talking to Sir John and quietly pining, believing it is better for Marianne not to be with him. It is a bit lower and darker in timbres as well as a little faster as he is aware he doesn’t match her ideas of romance in “All the Better for her.”

The flute moves into a new melody as the scene changes to Marianne and Brandon playing a lawn game. The melody is not quite the same but stays in the same vein that will come into play in several moments for Marianne throughout the film.

This flute plays again even more starkly by itself (almost a pining melody) as Elinor looks at the handkerchief that Edward had given her after Marianne accused her of having shallower feelings. “Patience”

Marianne meanwhile falls in love with Willoughby and the song theme plays again in flute and harp as she sketches his silhouette and he takes a curl of her hair. It is more simple with less dense chords in the middle, being both charming and yet a bit wistful as Colonel Brandon looks on. This is the most complete version of the song and the most similar to the piano and vocal arrangement. Marianne has found the one that matches her romantic idealism in “Patience.”

All three instruments of the flute, clarinet, and harp return after Marianne’s heart is broken by Willoughby when Elinor tells her the true story regarding Eliza. The instrumentation harkens back to that original moment when they were together, intimately talking in the bedroom near the beginning except now the romantic idealism is gone.

The final moment is a short motive from the first few notes played when Marianne is very sick, seeming to fulfill that role of dying for love. Considering that the poem is about losing one to death, it is both appropriate and tragic. “To Die for Love”

y Ben Jonson, a poet from the: 1500

Oh scorn, or pity on me take,

1

I must the true relation make,

I am undone tonight!

 

Love, in a subtle dream disguised

Have both my heart and me surprised,

Whom never yet he dare

attempt to wake;

 

Nor will he tell me for whose sake

He did me the delight,

Or spite,

But leaves me to enquire,

In all my wild desire,

Of sleep again; who was his aid.

And sleep, so guilty and afraid,

As since he dares not come within my sight!

Love is now a surprise that has appeared out of a dream. Coming out of a romantic idealism, Marianne has not completely changed but grown up out of sickness and heartbreak. This song is given to her by Colonel Brandon with the new pianoforte and the audience hears it as she practices it before being interrupted by Edward’s arrival near the end. Due to the timing of when this happens, there is not an orchestral version to accompany any scenes the way the first song is woven into the narrative. It is used however, in the credits, providing both a bookend in the soundtrack between Marianne’s two songs but even in the movie between Elinor’s song of “My Father’s Favorite” at the beginning and Marianne’s final song at the end. “The Dream”

The other main theme and motif that is woven throughout the story is first heard as they travel to Devonshire. This theme, while used the most for Marianne, is in fact for the whole Dashwood family. They are moving to a new life and a new adventure while saying goodbye to the old, especially Elinor after her confusing goodbye with Edward. The rest of the family seems confident of his coming to visit soon but she seems unsure. Both the higher theme heard in the higher violins and flute and the countermelody in the lower violins and oboe, which answers the higher theme, are used throughout. It is heard twice throughout first higher and then lower, including French horn to fill in the sound and gives a slightly different color with the melody. “Devonshire”

One of the things I find interesting is that the melody and countermelody need each other in the beginning and are not complete without the other part. The call and response aspect is very important. This is what it sounds with just the top melody…and here is the countermelody or motif. Since this is melody represents the journey of the Dashwood sisters, one could argue that it really represents the two sisters and their need of each other. Sometimes it plays for Elinor and other times for Marianne but it is their journey together that is in fact the most important.

The full theme returns slightly slower in “Grant Me an Interview.” The romantic flute plays the top line answered by the clarinet and accompanied by strings, feeling more intimate in a smaller ensemble as well as the slightly slower tempo giving a little more time to live in it as Marianne and Willoughby slowly stroll together. Willoughby is asking Marianne to be free for a proposal the next day and there is a quiet, joyful anticipation by both in looking forward to their lives changing together.

The theme quietly plays once in the solo oboe and answering clarinet as the women sob in their rooms and Elinor drinks her tea before transitioning to the card party with Mrs Jennings while Marianne sadly waits at the window.

Unfortunately, Marianne’s heart is broken by Willoughby, first by his leaving and then his rejection and choice to marry someone else. The theme returns as they travel to the Palmers home, again as a moment of traveling and movement, but especially as she is reminded that his home of Combe Magna is within viewing distance. The arrangement is very reminiscent of their traveling to Devonshire at the beginning, changing part way through, but then returning again near the end, this time ending in minor reflecting the sad nature of both Elinor and Marianne’s time in London and the grief they both carry. “Leaving London’

It is around this time in the story that a new motif is played, being the most emotional and the most resembling Doyle’s style. It is full of suspensions coming down almost like sighs and often accompanying Elinor’s concern and watching for her sister. As the story heads to the emotional crux both for Marianne and Elinor, it begins to play more and more, particularly as Marianne walks to Combe Magna and Elinor is watching and waiting at the window. The higher violins and lower flute play this motif and pattern while the lower strings swirl up and down both for the storm and drama accompanied by timpani beats. There are more dissonances held in the middle voices and horns throughout before resolving, playing a faster version of the Dashwood theme as Marianne quotes the Shakespeare sonnet she had shared with Willoughby. The rhythm has changed to a dotted rhythm in the countermelody as she weeps for her loss. The music returns to the high sighs now accompanied with harp chorus, as Brandon has found her and brings her home. The Dashwood melody plays almost as a melancholy and romantic version in the sweeping violins and horns, with the harp as Brandon is now the romantic hero but ending unresolved with the minor oboe as she is rushed to her room, ill, wet, and cold. “Combe Magna”

It is interesting to note that in this adaptation, there is no music for when Willoughby rescued Marianne originally in the rain. While visually, the comparisons between Willoughby and Brandon are there in carrying her through the rain, musically, the romance of the rescue is saved for the actual hero even though it is also a bit tragic at the same time.

The sighing suspensions return with strings and horns as Marianne becomes ill and the doctor starts to bleed her, telling Elinor that she must prepare herself for the worst. At this point, the emotional climax comes to a head for Elinor by stripping back the instruments. Instead of a string orchestra, there is a string quartet and harp, one instrument per part for an intimacy of sound as Elinor grieves and asks Marianne not to leave her alone. There is also less movement between the suspensions which leaves a lot of space and emptiness that changes the mood. It repeats one more time as an oboe and English horn add to the color as the cello plays a pedal tone, giving a gravity to the moment and adding to the stillness as the harmonies no longer changes in-between the way it did earlier. “To Die for Love.”

The Dashwood theme returns once again in strings with the clarinets playing the responding countermelody when Marianne thanks Colonel Brandon for bringing her mother while sick and then as it transitions to Colonel Brandon reading poetry to Marianne, with everyone settling back into life after London and Marianne’s illness. In being a slightly lower register to start, it sounds warmer before the melody is taken up again in the higher flute. “There is Nothing Lost.”

One thing to contrast is that the countermelody has a dotted rhythm now, with the first note longer and the second shorter. It was straight and even with Willoughby’s attentions but now has changed. It is a slightly subtle way to show a musical difference with Colonel Brandon and the changes of heart for Marianne. This Willoughby’s example and here is Colonel Brandon’s (Play both as a contrast of beginning of both)

It is finally Elinor’s turn again as the theme returns slightly slower in the strings, remaining romantic and intimate, with harp arpeggios as Edward returns and proposes to her. The instrumentation fills out with horns and English horn (which is a lower sounding oboe) as the Dashwood women wait impatiently outside and then Margaret informs them that Edward is kneeling down.

“Throw the Coins”

Everything crescendos and rises with a timpani roll into a cymbal crash…one of the few percussion moments as it appears that a wedding is happening. The melody appears again before another cymbal crash as Colonel Brandon and Marianne are shown as the bride and bridegroom. We also see Elinor and Edward happy together as well. Both sisters have found happiness and the music reflects the fullness and joy. The music then becomes a little quieter and wistful with the melody playing in the violins and oboe as Willoughby looks on, regretting his loss of Marianne. Note that the countermelody is once again straight. The orchestra grows again in instruments especially horns as they lead to Colonel Brandon throwing the coins ending with a cymbal roll as they go in slow motion through the air.

The rest of the music in this movie is all regarding locations. While part of the track in “Not a Beau for miles” includes the Devonshire theme, the part heard in the movie is near the end of the track with the solo winds from the high flute down to the French horn taking turns with a cascading melody as the Dashwoods adjust to their new life in a cottage especially Margaret enjoying the mud and then needing a bath. It is sweet and yet a little still as is their new environment. “Not a Beau for miles”

The rest of the music is in London and the events that occur within it. Much of the music is background music accompanying scenes and another example of diegetic music such as the harp solo “Excellent Notion” as Fanny and John Dashwood converse regarding Marianne’s situation with Willoughby at a tea room with Robert Ferrars. I remember one of my favorite podcasts, Art of the Score, mentioning that solo harp pieces are rarely heard on soundtracks and I could only think that they hadn’t watched that many Jane Austen films. It is very fitting as background for a tea room…having a solo harp in that setting still happens today!

The dances for the ball are all written by Doyle, something that is actually pretty rare in Austen adaptations as most chose to use folk tunes except for the special romantic dance. However, anyone who has seen the live action Cinderella to the 4th Harry Potter film knows that Doyle usually writes the music for his dances. What makes these unusual, besides the sound of a full romantic orchestra instead of the size that would match the ballroom, is that one of the main dances are also heard as people travel through London. “Steam Engine” is the first piece heard in London as all the Dashwoods, Mrs. Jennings, the Palmers and Lucy Steele are walking through London. This instrumentation is a wind ensemble similar to Mozart’s wind divertimentos. “Steam Engine” The rhythm itself reminds me more of a polka which isn’t at all period accurate as that started a few decades later but still a lot of fun. This piece is the dance that occurs as Marianne is rejected by Willoughby, looked down by Miss Grey and her companions, and carried almost half fainting through the ballroom. It is a great contrast of being emotionally distraught to the energy and cheerfulness of the music and dancing. “Miss Grey”

There is a lovely piece in the background as they arrive to the ball and meet Robert Ferrars but it is not included on the soundtrack. The dance that is featured as Elinor dances with Robert and then runs into Willoughby is in 4 with strings fulfilling their more traditional roles in a dance, with the bass line in the cellos and basses, the off beats in the middle strings, and then the fun scalar melody in the violins mixed with flutes and lots of trills. It ends with a traditional cadence of V I often accompanying the final curtsey and bow at the end. “Willoughby”

The piece that accompanies Mrs. Jennings running through the streets of London with her news about Lucy and Edward’s engagement seems very similar to that dance but almost twice as fast. This is the only string piece and in contrast to the only wind piece also representing London. Both containing energy and excitement for all the things happening in London but also unique in sound compared to the rest of the soundtrack which is more mellow in the movement and timbres chosen. “Steam Engine”

In writing music for the songs and dances, the soundtrack effortlessly connects the story as a seamless whole, having the music that the characters know and play become part of their larger story. Together, the sisters grow in maturity through falling in love, loss, and learning from each other. It is also a story which says a lot through very little as the majority of the film is in silence which means that what is there is very specifically chosen and meaningful.

el Portman’s score from the: 1996

Until next time, Happy Listening!

A special thanks to all those involved to make this podcast happen especially Edith Mudge for the title music and Lindsey Bergmsa for the graphics. This is World of Soundtracks.