In this episode, we look at the music of the TV film of Persuasion from 2007/2008 with the music written by British composer Martin Phipps. We explore how Phipps uses minimalism to express the emotions of the characters, primarily the main heroine Anne. Combined with her journal narration, the music tells her romantic journey of a second chance, aiding an introverted character to let the audience know what she feels. We explore looking at the instrumentation and style of this short, compact, and impactful adaptation.

Host: Ruth Mudge, ruthmudge.com

Music included on this podcast:

"Metamorphosis 2" - Glass Piano, music by Philip Glass, performed by Bruce Brubaker, 2015.

"Persuasion" - music by Martin Phipps, performed by Ruth Mudge, cello and piano.

"I Lived Here" - Woman in Gold (Original Motion Picture Soundtrack), music by Martin Phipps, 2015.

"Piano Sonata, No. 14 in C Sharp Minor, Op 27, No. 2, "Moonlight": I. Adagio Sostenuto." - Beethoven: Piano Sonatas Nos 14 "Moonlight", 21 "Waldstein" & 23 "Appassionata", music by Ludwig van Beethoven, performed by Vladimir Horowitz, 1973.

"Symphony No. 25 in G minor, K. 183: 1. Allegro con brio" - Mozart: Complete Symphonies, music by Wolfgang Amadeus Mozart, performed by Royal Concertgebauw Orchestra & Josef Krips, 1996.

"World of Soundtracks" - music by Edith Mudge, graphics by Lindsey Bergsma.

Martin Phipps, a British composer, has written a lot of music for British period dramas including Elizabeth Gaskell’s North and South, The Virgin Queen, Oliver Twist, War and Peace, a Woman in Gold, the new movie Napoleon, and seasons 3-6 of the Crown. He has won BAFTA’s for Wallander and Small Island. One fun fact about Martin Phipps is that his godfather was British classical composer Benjamin Britten because his parents were agents for quite a few classical performers and composers. However, like many teenagers, he decided playing in a band was much cooler instead of studying classical music and then starting writing music to accompany dramas once in drama school in a similar trajectory to Patrick Doyle.

While Phipps has done a lot of period dramas, he never wants his music to sound like that era, choosing to go for the more emotional side through the contemporary minimalistic style heard in many films today including Hans Zimmer. This also matches his background in playing in bands with limited amount of chords but then using instruments, layers, and atmosphere to tell the story. There is very little information about the music as this adaptation was well as the other 3 from that year do not have any soundtracks available. It was in-between some of the really big 90s mini-series such as Pride and Prejudice that had their soundtracks put on cds but before a lot of soundtracks were made available on streaming platforms such as Apple Music and Spotify, as was the case of newer shows like Sanditon.

In this opening sequence, the melody starts going faster and lower as she runs through the house to greet Lady Russell arriving.

The camera seems to be hand-held at times during this opening sequence following Anne around and the music has a constant eight-note pattern throughout to keep that motion going underneath. This Anne is not sitting back in the corner but is the one making things happen even if it is behind the scenes. This film is not as quiet as the previous one although there is still a good amount of quiet and space for the dialogue. While it fulfills the role of many Austen films, accompanying movement to different locations or walking, it also provides music as Anne shares her thoughts in her diary and letters or even as she enters situations that brings out her emotions regarding Captain Wentworth. This Anne shows her emotions in many ways and so her music is at times moving or dreamlike depending on whether she is active or reflective. While the main focus is on Anne, this version also gives a few moments to hear Captain Wentworth’s side as well making it seem a little more balanced between these two former lovers, split apart and then finding each other once again. It gives a little more star-crossed lovers feeling and emotions due to the shorter time span.

There are several themes that return in different points throughout the film. The first that we just heard often accompanies scenes that where there is more physical motion even while dealing with emotions at the same time. This music accompanies the group as they walk to Winthrop, including Captain Wentworth catching Louisa and the music becoming more intense with the faster portion as Anne trips and falls off the tree log with Wentworth catching her. The next time it plays as Mary tells Anne that she needs her as they are going to travel to Lyme, once again accompaning both the moving and traveling. As they travel to Lyme with Anne in a coach and Wentworth on horseback, Anne finishes a diary entry narrating over the scene where she recognizes that he cannot forgive her and she cannot help but look back with infinite regret.

However, this theme is not just for Anne but the same music accompanies Captain Wentworth walking across fields in Lyme with Captain Harville, learning to his horror that his unguarded actions towards Louisa meant that many believe that they were as good as engaged while Anne is in fact telling Lady Russell in a carriage that very fact that excepts to hear of their engagement very soon. This time it is Frederick dealing with deep regret again while walking and traveling. This is one of the more dramatic themes and clear rhythmic patterns that repeat while adding layers with the strings. That being said, many of these themes are not as melodic in nature as is the case with many minimalistic pieces.

In contrast, one of the other returning sections is much more dreamlike beginning with a single high repeated note in the piano before wandering around both melodically and harmonically. It seems more ethereal and often behind dialogue, unclear whether it is stationed in minor or major. It is the music for memories locked down for both Anne and Captain Wentworth as they begin to see each other, each remembering the past. It is a bittersweet melody of both regret but also possible new beginnings. It first occurs as Anne looks at her box of memories from the past, following the Elliott family leaving Kellynch and as she passes the Crofts arriving as she leaves. While she travels to visit Mary, the Crofts see their new estate, learning that Anne is unlikely to be married and Frederick had once been engaged in that part of the world before. It fills in some gaps due to a shorter time frame as everyone arrives at their various locations and lets the audience know that not only was Anne was hurt by their broken engagement but so was Captain Wentworth. This music returns as Anne chooses to stay home from the dinner where everyone was supposed to meet Captain Wentworth to watch over young Charles and then the girls bring him over the next morning with Anne and Frederick meeting again for the first time in 8 years as the piano fills in the gaps as they look at each other with Captain Wentworth acknowledging that they are acquainted. This is a little sample of that opening melody although not covering the entirety.

High electronics are often used for more of a dreamlike feeling as well, lacking a clear melody or rhythmic quality, often masking discomfort, pain, or even confusion. It is first heard as Anne overhears Louisa tell Captain Wentworth why Anne refused Charles, being persuaded by Lady Russell and then again as he helps her into the carriage with the Crofts on a dissonant chord before they discuss their expectations that he might marry Louisa. It also returns with chimes as Captain Wentworth asks Anne for her advice in how to break the news of Louisa’s fall to her parents. While flattered that she should be asked, it is also over a heart-breaking incident. This version also returns when she receives a letter at the end to expect his call.

High electronics also accompany Captain Wentworth as he tells Harville that he loves Anne but realized it too late, thinking that he must be bound to Louisa before hearing of her engagement to Benwick, setting him free. In all these incidents, there is an agitation of spirit but yet a longing for the other person.

However, electronics are not used just for Anne and Captain Wentworth but also plays in key moments with Mr. Elliot. High electronics accompany the moment when Anne runs into Mr. Elliott in the stair case and then later as she discusses Mr. Elliott with Lady Russell in the pump room, untrusting of his motives with his sudden attentions to her family, and near the end as Mrs. Smith tells Anne of the true nature and motives of Mr. Elliot. It matches his lack of sincerity.

The main theme for Anne and Captain Wentworth’s relationship throughout the movie is heard in the strings. It first plays as Anne narrates that she and Captain Wentworth are worse than strangers as they can never be acquainted before arriving for dinner at Kellynch. The melody lingers on a high note with tension following a major 7th as she waits and looks to see him enter before the music resolves. What is fascinating is that the low strings hold the same low major chord through the majority of the piece yet the cello that plays the main melody lingers on many of the dissonant notes, giving it both a sense of longing, regret, and hope depending on the circumstance. It captures the essence of their passion, lost and then renewed. It is also the only theme that does not heavily feature piano.

This piece later returns as Anne learns from the Crofts that Louisa married Captain Benwick instead of Captain Wentworth to her shock and then they both run into each other at a shop in Bath escaping the rain. As they talk about Louisa and Benwick’s engagement, the strings return with this cello melody, leading to Frederick’s speech that a man does not recover from a passion to such a woman. This meeting is more an equal footing for the first time as Captain Wentworth has now moved on from his anger and bitterness. It is a new meeting but they are still both aware of their past as well as being a little awkward at times.

This theme is heard a final time at the very end as Frederick presents Anne with her home Kellynch as a wedding gift, taking off the blindfold as a surprise at the high tension note and then it resolves as she responds with joy as they waltz on the front lawn. The music that seemed angst-ridden at the beginning is now a moment of joy, filled in with a few extra string lines and piano chords at the end, but ultimately the same. They had always loved each other and this music reflected their journey of coming back together. Phipps often has completely new music for the happy endings of his series so it is nice that he used a theme heard throughout the movie to bring a sense of completion and happiness after all the heartache before birds are heard chirping over the credits.

Some of the music is very clear in its emotional depictions such as happy major scales and runs as the young Musgrove girls run over to meet Anne when she first arrives and as she is met with joy by the parents, the music continuing in the background. Or this sadder minor 6/8 melody as Anne chooses a dress preparing to see Captain Wentworth for the first time before young Charles falls out of a tree and then is carried in with the family unsure how bad it is, adding the cello for the added gravitas of the injury.

In contrast to the 90s Persuasion, the majority of the time in Lyme is quiet while the wind and waves are heard lending to a certain wildness. However, in contrast to the other film which has Louisa’s fall in silence and slow motion, here the piano accompanies Louisa, going up as she runs up the stairs and a low chord as she hits the ground.

This scene leads to a main piano theme used in the two most dramatic moments in the film. The first time almost seems like a variation or fantasia around the main theme as Louisa hits the ground, Anne takes control, and everyone is helpless in the horror and shock, especially Captain Wentworth.

This theme comes back in a simplified manner when Anne tries to reach Captain Wentworth near the end being constantly interrupted by friends and Mrs Smith, only to receive his famous letter. Electronics are added as a texture as she runs, adding lower octaves near the end and going faster as Anne tries to find him after reading the letter and running into the Crofts. While seeing her run through Bath is a slightly controversial scene, the music and the pulse adds to the drama of her emotions, finally hearing that Frederick still loves her and trying to find him after all this time. The music also continues a back and forth between minor and major with a little unresolved dissonance throughout that reflects her churning emotions. (Recording)

This leads to the music accompanying their declaration of love and the lingering kiss. The music continues the most recent motif from running around hearing his letter as Anne declares that she will marry him and nothing will persuade her otherwise. In the same vein of the other pieces, the piano repeats the same pattern or similar chordal patterns with strings playing chords around it, filling in the space but also not moving fast to give room for the words and to hold out the tension as they have one the longest pre-kiss moments ever. This particular track is the only one available as Martin Phipps used it in the movie “Woman in Gold,” which he co-wrote with Hans Zimmer, featuring Helen Mirren and Ryan Reynolds. This has happened three different times for Phipps where he uses music from his mini-series in other movies. My guess is that the music was used as temp music, which is pre-existing music, often from a temp library, that is edited with the film as a place holder or a guide for what the director wants it to feel like or sound like. Since Phipps wrote those specific tracks, he could just re-record them and use them somewhere else if that matches the director’s vision for that scene. While I don’t know for sure that that happened in this case, I do know he did that with a track from War and Peace in his new movie Napoleon. Regardless, this is the version from “Woman in Gold” called “I lived here,” that is almost identical to what is used in Persuasion.

What is not on the track is how it ends with quiet piano in major as Anne smiles happily and content to the audience while writing in her diary after the kiss, telling you all that you need to know without words.

While the style of minimalism is less common in Jane Austen adaptions, the use of Classical music as the music performed by characters throughout is used in many Austen adaptations. Anne plays Beethoven’s famous “Moonlight Sonata” seemingly lost in the music with Frederick stormily watching her play on the side. While most average pianists in the Regency era would not have access or the skill to play Beethoven, it does convey to the audience a vehicle for Anne to play something more emotional as is true for many introverted musicians outside of sharing her feelings in her journal and a moment for Frederick to witness her playing while dealing with his own complicated emotions in regards to her, both resentful and perhaps a bit of longing. “Moonlight Sonata”

Mozart’s symphony 25 is the piece performed for the concert in Bath as Anne runs out at the beginning following Captain Wentworth’s dramatic exit, leaving after the first few chords were played, unable to contain his jealousy in regards to Mr. Elliott. The stormy minor nature matches both of their high emotions and feelings for each other and yet unable to communicate, letting misunderstandings rule. Mozart is used for many Austen adaptations especially “Love and Friendship” which does a great job of incorporating dramatic classical music. (Mozart Symphony 25)

Of the three adaptations in the past 25 years, this one telegraphs the emotions most clearly of the hero and heroine, giving them moments to share their feelings either with friends or with the audience. The goal of the music was to provide moments that matched the emotions within the color palate of piano and strings, often used for period dramas, as well as electronics which is less common. The style of quiet minimalism gave room for dialogue and yet a rhythmic motion when needing for movement whether physical or emotional. It built up layers from high to low or adding in more instruments to build tension, to give a sense of motion, and to feel moments of both grief, longing, and joy intermingled. While a shorter adaptation, Phipps still managed to write a few key themes that embodied the deep feelings reemerging and reuniting between this couple after such a long time.

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.