In this episode, we look at the soundtrack of the 2005 movie Pride and Prejudice by Dario Marianelli. We explore the themes that describe Elizabeth's emotional journey as well as how the rest of the music sets the world and mood in this adaptation.

Music Featured:

"Dawn" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Mrs Darcy" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

Piano Sonata No. 3 in C Major, Op. 2, No. 3: II. Adagio - by Ludwig Van Beethoven and performed by Mari Kodama, 2008

"Stars and Butterflies" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Arrival at Netherfield" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"The Secret Life of Daydreams" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Liz on Top of the World" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Darcy's Letter" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Your Hands are Cold" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

Abdelazer, Z. 570 "Moor's Revenge": Rondeau - "Purcell: Theatre Music", music by Henry Purcell and performed by Academy of Ancient Music & Christopher Hogwood, 1990

"A Postcard to Henry Purcell" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Meryton Townhall" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli, 2005

"Another Dance" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Can't Slow Down" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli, 2005

"The Militia Marches In" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli, 2005

Piano Concerto No. 1 in C major, Op 15: I. Allegro con brio - "Complete Piano Concertos" - Music by Ludwig van Beethoven and performed by Krystian Zimerman, London Symphony Orchestra & Sir Simon Rattle, 2021

"Leaving Netherfield" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"Georgiana" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"The Living Sculptures of Pemberley" - Pride and Prejudice (Music from the Motion Picture), music by Dario Marianelli and performed by Jean-Yves Thibaudet, 2005

"World of Soundtracks" - music by Edith Mudge

First of all, I want to thank all of you who have tuned into this podcast and for all of your kind comments and encouragement. This is going to be a monthly podcast, releasing an episode at the end of each month. I wish I could release more sooner but I do have a day job of teaching and performing! As some of you may have guessed, this first batch of episodes is going to be focused on Jane Austen Adaptations.

Dario Marianelli is the composer of this film and has written 3 other scores for Joe Wright films including Anna Karenina and Atonement, each nominated for awards. Often, a director finds a composer that they really connect with and so continue to collaborate with together. John Williams and Stephen Spielberg or Patrick Doyle and Kenneth Branagh are two that immediately come to mind. Pride and Prejudice was the jumping off point for Dario Marianelli and Joe Wright in their partnership. Dario has also written music for the newest movie version of Jane Eyre, I capture the Castle, Quartet, V for Vendetta, Kubo and the Two strings among others.

The other important partnership to note is with the French pianist Jean-Yves Thibaudet. Personally, I think he is one of the great pianists of this day, having a beautiful delicate touch and yet still having great power when required. He adds a beauty that is necessary to this film. Interestingly, the partnership ended up going both ways…he recognizes that this soundtrack has brought people to his concerts and to classical music which he finds an honor and so he recognized it by including a solo piano Pride and Prejudice suite arranged by Marianelli for his 60th birthday album called “Carte Blanche” that he released last year. If you ever want to compare whether instruments make a difference, then I recommend listening to the suite. While most of the music is focused on solo piano such as Dawn, there are a few bits that have a different impact when just piano alone.

The opening theme had to be written before filming as it is performed both by Elizabeth and Georgiana in the film. While the level of ability is clear between the halting, stumbling nature of Elizabeth to the more polished Georgiana, and then performed professionally by Thibaudet, not only does it help tell the story by comparing the two ladies abilities but this theme is an example of diegetic music. Diegetic music means that the music comes from the world that you see; it is a piece that the characters hear and not just by the audience. It connects the audience and characters by making it a part of their world. In this case, it is one of Elizabeth’s themes and connects her to home. Joe Wright mentioned in a commentary that even when she hears Georgiana playing it while lost in Pemberley, it is this call and connection of home that she is following.

But before we jump ahead too much, we should start with this opening theme first heard in “Dawn.” The opening is such a contrast to the mini-series with life and energy both in the piano-forte and ensemble. Here, the film opens with quiet and birds, gradually waking up with the dawn to a solo piano playing a repeated note, gradually opening up to a simple version of the theme as Elizabeth walks along reading. It is very peaceful. (First section)

At this point, more movement begins in the accompaniment and the tempo becomes faster as Elizabeth walks to the Bennet family home and you see the whole family interacting in a bit of chaos with Mary playing scales, animals making noises, Lydia and Kitty running around Jane before it calms down almost like a hymn as Elizabeth enters the house overhearing Mrs Bennet telling Mr Bennet about Netherfield. Not only does the middle section contain more motion but it also covers a greater breadth of the piano especially in the bass to fill out the sound. There is a great amount of scope and storytelling in this introduction scene while remaining in solo piano. It is a self-contained story of the Bennet family and home. Any other instruments are saved for later in the film. “Play Dawn 0:55.”

The piano plays the middle busier section theme again as the girls celebrate hearing that Mr Bennet has already met Mr Bingley and Elizabeth enjoys watching her family erupt with joy and a bit of chaos in Lydia and Kitty.

One of the things I love in a good soundtrack is the idea of musical bookends, bringing together the beginning and the end with a specific theme that ties it all together. This film is unusual in that it had two different endings: one for the British audience and one for the Americans. We will get to the American ending later on. The British one ended with the scene of Lizzy and her father regarding her wish to marry Mr Darcy. This scene itself is bookended with that opening solo piano before she speaks to her father and then it blossoms with strings and winds at the end to add color and warmth. The opening theme for Elizabeth and the Bennet home returns to wrap up the story. “Mrs Darcy"

The other portion of this theme tying the beginning and end together in both films is that the faster portion and end of Dawn is also used for the title sequence at the end with a feeling of home for both the audience and the main couple. It provides a wonderful sense of contentment.

Now, this soundtrack straddles the line between classical and modern both in style and instrument choices. While the use of a pianoforte would have been more period accurate, it would not fit this particular adaptations mood in being a little too bright and less connected or legato. It also did not have quite the same range and amount of keys that a modern piano has.

Almost all Jane Austen adaptations use either piano or harp or in this case, both as those instruments are featured in her books. Having the piano as an instrument for Elizabeth’s voice in the soundtrack makes sense since she herself plays that instrument even if she is rather a poor player in this version.

Marianelli has said in interviews that he was inspired by Beethoven’s early piano sonatas. Here is an example from Beethoven’s piano sonata no. 3 in C major, mvt 2 and you can hear both the movement of harmony in the left hand with a mixture of suspensions (dissonance resolving down) and anticipations (dissonance resolving up) providing tension and release that resemble some of the choices heard in Dawn and other parts of Pride and Prejudice. (1:35) While you can hear the classical influences in the melodies and many of the harmonies, the rhythm particularly in the solo piano parts make it quite current and also help to portray the emotional journey of Elizabeth. There is a lot of two against three in the main theme and even changing time signatures in many of the tracks, giving both a fluidity and almost a lack of time. The classical era loved clarity of rhythm and harmonic structure which is the exact opposite of what is heard in the majority of the film. That being said, it is played so effortlessly that it feels more like rubato and interpretation instead of a clear conflict between hands. It’s hard to notice these unless you start to look at the sheet music.

The use of the piano and a smaller set of orchestral instruments such as the Solo clarinet, oboe, flute and French Horn along with strings lend to a classical era orchestration of what would have featured in many of the orchestral pieces of the time. In fact, the solo clarinet is a feature frequently heard in Austen adaptations. The clarinet really came into prominence and use in orchestral settings during Mozart’s music and is used to emulate that time and style. The clarinet is one of the first instruments heard after the piano (outside of the Meryton Ball which we will return to) playing the initial theme as Elizabeth and Jane talk about Mr Bingley and Mr Darcy after the Merton Ball in “Stars and Butterflies” (1:22). Adding in some color to this theme also adds some color and depth as the girls giggle over the evening.

While the opening and title theme are the bookends and mood setting for the movie, the one that really is Elizabeth’s theme as she journeys through this story is “Secret Life of Daydreams.” As a side note: I love this soundtrack and it probably is in my top 5 but some of the track titles are a bit ridiculous. The first time this theme appears is when Elizabeth is walking to Netherfield to visit Jane who is sick. In most Austen adaptations, there is a great amount of silence to hear the dialogue since much of it is taken from her books and this adaptation uses it even more to hear the birds and life around them. This means that the moments that include music are often there for an emotional point or for transitions scenes, often traveling from one place to another. This would be one of the first traveling moments with music that we see as Elizabeth is visiting out of concern for her sister. It also highlights her love of walking and independence. This particular moment is not on the soundtrack but we will be hearing other versions very soon.

The next time this theme is heard is when the family is getting ready for the Netherfield Ball. This is a faster version matching the movement happening within the house, seeing all the various girls get ready while the maid Betsy walks through the house hums tune at the same time over it. There is a joyful quality with the movement even though the theme itself is a bit jagged with larger leaps in the melody and the ostinato of the moving left hand does not line up with the melody. An ostinato is a repeated pattern over and over. Probably the most famous version is Pachelbel’s canon in D in the cello part. This ostinato figure will appear again later in the movie. Here, Elizabeth is excited to see Wickham, Jane to see Mr. Bingley, and there is an air of anticipation in getting ready for the ball. “Arrival to Netherfield”

This theme is frequently used as Elizabeth is thinking about all that is going on around her. The speed and activity or lack thereof reflects her emotional space. This returns in the solo clarinet as she hides near the end of the Netherfield Ball, away from the busyness and almost humiliation of the evening.

In contrast, “Secret Life of Daydreams” is much slower when Elizabeth is on the swing after Jane leaves for London, Charlotte tells her that she is going to marry Mr. Collins, and her world seems to be a little uncertain. Things are not how they ought to be and yet seem monotonous at the same time shown both by the slow movement and changing scenery. In the music the ostinato in the left hand is in contrast between the pauses of the main melody not quite in sync with each other but very close. The violins also play the same melody over it but are almost twice as slow as the piano’s version. There is also a static nature not only in the repeated pattern of the lefthand but the underlying string harmonies that go back and forth between two chords only heard in the violas as they change back and forth between two notes as the lower strings hold on to a single note the whole time which is known as a pedal tone. Elizabeth notes in her letter to Charlotte near the end that everything seems a little grey and the lack of movement in the accompaniment supports that feeling.

“Secret Life of Daydreams.”

One of the most lovely moments in the music is when this theme soars in the violins over the flowing piano, harp glissandos, and chords held by strings and horns that give it depth in “Liz on top of the World.” Ignoring the fact that she is never called Liz, this has a soaring nature to reflect the beauty of the location but the never ending movement in the piano and harp glissandos also reflect the swirling emotions in Elizabeth at this point. She is keeping secrets from Jane about Mr. Bingley and Mr. Darcy. Her opinions of Mr Darcy and Mr. Wickham have been rocked. While on a beautiful vacation with family, she can’t seem to quite escape the changes going on in her heart and mind.

There are three melodies that begin with a repeated note in the piano that lead into it, first heard in Dawn as the world is waking up. The second is in a minor sadder version after she receives Mr. Darcy’s first proposal. In many ways, she is waking up both to herself and her prejudices of Mr Darcy and Wickham but in a minor setting. In the carriage right before the cliff scene, the theme is faster, while she appears to be sleeping but yet not at ease. It is a motif or shorter version of the Dawn theme with the melody still in major and yet the piano is not settled in a key with more dissonant notes almost like a cluster chord hanging around minor. This is a lovely moment to have the two main melodies dovetail into each other going from Dawn to her Elizabeth’s emotional theme. “Liz on top of the world”

The music after Mr. Dracy’s first proposal does in some ways reflect a sadder minor version of Dawn with the opening of a repeated note. The melody resembles the opening motif and yet is a bit different. There is less movement overall to give the sense of space. It holds and releases emotional tension with both the long pauses, change of time signatures losing all sense of beat structure, and the use of the solo cello. The cello in many ways reflects Mr. Darcy’s voice. It enters as she stares in the mirror reflecting on the proposal and trying to make sense of it all, beginning almost a duet between the piano and cello during the narration of Mr Darcy’s letter, the cello being Darcy’s voice and the piano Elizabeth’s emotions in hearing these words. It starts to get a bit more momentum near the end as Mr Darcy rides away, with the voice-over of his letter regarding Wickham and his sister, with the cello riding up to a climax but not resolving. The music is left hanging before coming down to the piano again with the repeated note, also not completely resolved at the end as she is interrupted by Charlotte. “Darcy’s letter” (0:35)

This cello melody returns when Elizabeth learns of Lydia and Wickham’s elopement as she says “nothing can be done, we have not the smallest hope.” Mr Darcy expresses that he wished he could help but Lizzy sees no hope and they head back home. It is a mournful version accompanied by lower cellos before moving into the most dramatic music of the soundtrack, which is also used right before the 1st proposal when Elizabeth learnt of Mr Darcy being responsible for breaking up Jane and Bingley. In both cases, she is traveling and emotional distraught about her sisters which can be heard in the rhythmic pattern of the strings and horns, arpeggios in the clarinets and violins and the minor melody above it in “Your Hands are cold.”

Elizabeth’s emotional theme returns, bringing many of these parts together near the end. I don’t think it’s coincidence that the second proposal happens again at Dawn, providing a visual bookend to the story with sun coming up and the world quiet in the mist. As Lizzy walks in the field, the more mournful melody of the cello appears but this time it is in the flute, harp and strings. She cannot sleep after her confrontation with Lady Catherine and she is a bit sad over Mr Darcy leaving. It is as if she has realized her own feelings too late. While the melody is mournful in nature, it sounds more wistful in the higher timbres of the flute and using the harp instead of the piano giving it a more delicate feeling. (1:08)

As Mr. Darcy appears walking in the mist, the piano returns with the opening piano part of “Liz on the top of the World” - that mixture of major and minor of the first theme - a mixture of hope and almost disbelief before it opens up in the same way with her second theme soaring in the violins. This time the emotions are swirling with love and joy instead of confusion. Playing it in a higher key helps with the soaring aspect even more. As Mr Darcy begins to speak, a version of the strings that went with his letter plays but again with harp and flute - making it romantic instead of mournful as he is uncertain of Elizabeth’s feelings. The cello does return as a duet with the flute - reinforcing my belief that the cello is reflecting Mr Darcy’s voice as he tells Lizzy that he loves her. The strings hold suspended slowly moving between chords as the sun comes up and Elizabeth responds to his proposal. It is a beautiful culmination of the three themes coming together, as well as of a transformation from the 1st proposal to the second in using some of the same music in a different orchestration, as well providing a romantic build-up for the audience to swoon as Mr Darcy walks across the mist-covered field. “Your Hands are Cold’ (2:20)

The last time the theme of “Secret Life” or Elizabeth’s emotional theme is heard in the American ending as she and Mr Darcy are enjoying each other’s company at Pemberley after they are married. This is a gentle version in the strings. There is no rhythmic tension or ostinato that had been in the earlier versions and there is less movement underneath the melody the way there was in both the cliff and proposal scenes. This one is much more at peace and a bit more romantic. It plays in the violins first then with the cellos providing harmony underneath. There is some tension and resolution in the harmonies but always resolving. French Horns and oboe join in during the kissing portion to enrich the texture and colors, helping the music swell with a harp glissando at the end. There is nothing that suggest romance and your big kiss scene like a harp glissando. Whether you love this scene or find it unnecessary, the music is definitely a romantic finish to the story bringing to a conclusion not only Elizabeth’s journey of understanding herself through her prejudices and pride but also finding love in the process. (0:44)

By taking away the harmony and making the piece slower helps to zoom in on Elizabeth and Darcy as well as their conversation but is more challenging to dance to. Often, adaptations choose to either make the music grow when the main couple is dancing or to pull you in, as in this case by using just one instrument, making it much more intimate. The original harmony is not used in this version but instead the violins enter slowly holding cluster chords above the melody. Cluster chords is used more frequently in current music with notes played at the same time close together with a little dissonance. It is not until their conversation finishes that two things occur: the other dancers disappear and the solo cello enters in dialogue with the violin, the cello rising up to meet the violin coming down. This is the first time the solo cello appears having two instruments in a dance themselves slowly meeting together at the end. It all tells the story without any dialogue with the dancing and the instruments. “A Postcard to Henry Purcell”

This dance is what would qualify as the special dance not only for the couple but being different musically from the rest of the dances in the movie. In many ways, it bridges the gap by using an old tune but in the style and harmony of Marianelli’s music. The rest of the dances are traditional folk and dance tunes but like the Pride and Prejudice mini-series, the size of the ensemble tells you much about the people, their class, and location. What is interesting to note, however, is that it takes the exact opposite approach. Instead of a smaller ensemble for the Meryton ball and a larger one for Netherfield, here it is a large folk orchestra sound for Meryton, with strings, drums, flute, and horns. It is also provides contrast to the fact that only solo piano had been heard until this moment. Then everything erupts into a full, crowded, spirited ball that almost seems like a country folk dance in a barn. Not only that but the piece is a reel or a jig in 6/8 which is the lively quality often used with overall sound in the mini-series of Pride and Prejudice. The energy and joy is palpable and felt by all except Miss Bingley and Mr Darcy when they arrive. “Meryton Townhall.” (0:33)

The contrast is at the Netherfield ball with a smaller more refined ensemble of a string quintet and flute heard in “Another Dance.” The feel is more subdued and classical in nature. This musically tells you of the status of the Bingleys and how the ball they offer is much higher quality than the town dance. “Another Dance”

However, the slower refined air does change near the end of the ball as everything starts to unravel, with Mrs. Bennet and the youngest two being a little drunk and Elizabeth remarking to Charlotte that her whole family is bringing ridicule on themselves. The music gets faster and faster each time the melody repeats as things proceed to get out of hand. Caroline Bingley mentions to Mr. Darcy as they dance that she almost expects to see a pig there and have to chase it. The music is reflecting this chaos that is infecting the Netherfield Ball due to the people who have attended in “Can’t Slow Down.”

While most adaptations use the dance music to help tell the larger story, this movie is very particular in setting the stage with the size and tempo of the dances chosen. Along with that, it is also unusual that most of the dance music is in fact included in the Soundtrack and that it also uses military fife tunes for the Regiment both as they arrive at Meryton but also later when the girls meet Mr. Wickham in the village. It helps set the stage, giving a bit of historical grounding, and aids to the excitement of the younger Bennet sisters in seeing all the officers. “The Militia Marches In”

Because the majority of the music does feature solo piano with a more intimate combination of instruments for Elizabeth’s journey or the contrast of the music for the town of Meryton, this means that the few moments where the larger orchestra occurs helps to make the drama sparkle or become more intense. Many of these surround the Bingleys, such as everyone arriving at the Netherfield Ball. The piano is still prominent as Elizabeth and her family arrive, a harp has a glissando with the fire transition from the candle to torches, and we hear trumpets and winds almost as a fanfare. This is one out of two occasions that the trumpets play so it highlights the feeling of arrival to a grand occasion. It also reminds me a lot of a classical piano concerto such as Beethoven’s First Piano Concerto. Here is Beethoven’s Piano Concerto No 1, mvt 1 (3:03) and here is “Arrival to Netherfield.” (0:39)

Since several of the music cues involve traveling and transitions, “Leaving Netherfield” is a moment that includes a medium sized ensemble beginning quieter with the piano, strings, and oboe but switches to the clarinet playing the melody over harp and strings. This is one of the more melancholy tracks with the Bingleys and Mr Darcy leaving after the ball, the house being packed up, and Jane and Mr. Bingley both left heart-broken. This is where the use of the oboe and clarinet add to the sadness in color and the piece feels more classical in nature due to less rhythmic complexity. It is also a contrast to the joy and fanfare of arriving at the ball, ending with this immediate and sad departure. “Leaving Netherfield” (0:41)

The other cue involving Mr. Bingley is near the end as he is trying to work out his proposal or apology with Mr Darcy at the lake. This is a humorous and lighter moment, with the strings providing movement, the flute joining the piano in the melody, and the trumpet joining in briefly. This is an orchestral version of “Georgiana” and the piano piece she plays at Pemberley and one of the other classical sounding pieces in this group. The 12/8 time signature gives a bouncy light-hearted feeling, the fancy turns and trills are quite common ornamentation in classical music, and the alternation between the strings and winds at the end all aid for a fun scene with a more traditional sound. “Georgiana” (0:45)

Georgiana is not the only track to be used twice in the movie. Bringing us back to solo piano and Elizabeth’s journey is “The Living Sculptures at Pemberley.” This track is used twice

(Well, technically three times if you count the end credits) and is the last portion of Elizabeth’s journey that we have not covered. This occurs as her feelings begin to change and she realizes it while visiting Pemberley with the Gardiners. It is a bit more melancholy as she looks around at what she has passed down but particularly, who she has passed down. It seems to start out of the music that had played during Mr. Darcy’s letter but then shifts. The movement in the left hand alternates between two notes, slowly changing harmony with a slower melody on top, giving space for reflection and also the idea of things beginning to slowly change. In many ways, it resembles “Secret Life of Daydreams” but the harmonies change more. Instruments begin to join in as strings fill in the harmonies, solo clarinet then higher violins take the melody, and then solo French Horn plays the melody as she looks at Mr. Darcy’s bust. I mentioned in my previous episode that French Horn is often used for Austen’s heroes and this is the only time in this adaptation that the melody is in the French Horn. It speaks of a noble character, worthy of admiration and respect. Going into higher violins over the harp (which had taken over the piano left hand motion) as the housekeeper asks her opinion of Mr. Darcy, gives a soaring and yet timeless feeling reflecting her staring and contemplating everything that had occurred as well as the music going lower and a bit more melancholy as she continues to gaze as Mr Darcy’s statue while the others move away. This version seems to be implying that Elizabeth is regretting now her choices and her view of Mr Darcy. “The living Sculptures of Pemberley”

Along those lines, this music is used again in the solo piano as Lizzy reflects or pines away sitting at a tree after Mr. Bingley proposes and Mr. Darcy leaves. Mr Darcy is also walking away, looking back but neither of them see the other. The setting is not completely melancholy however, as it also transitions to later in the evening with the Bennet family rejoicing and adapting to life with Lydia gone and Jane engaged.

As haunting as this piece is, I will say I don’t completely agree with using this music for the end of the credits as it leaves the audience on a slightly more melancholy and wistful note than the majority of the music or the contentment at the end of the titles. While Elizabeth does mention in the film that she loves to laugh, the music of the soundtrack as a whole highlights the nature of a quieter, contemplative and regretful Elizabeth who has to come to terms with her prejudices and the emotional journey that entails. The music guides the audience to feel what she is feeling whether it is a calm joy in the early Dawn, melancholy with change or changing opinions and emotions, and a deeper sense of contentment and love at the end. The hints and imitation of classical music give a reminder of the setting but in the end it focuses more what is felt than period accuracy. It is beautiful music for beautiful aesthetics.

Next month, we are going to be moving away from Pride and Prejudice to Sense and Sensibility by Patrick Doyle. This will combine the imitation of classical music and more emotional moments which is fun to both hear and observe. You can join in on discussing all the musical moments from Pride and Prejudice on the Facebook group “World of Soundtracks” or on Twitter and Instagram at WoSoundtracks. Feel free also to subscribe on Apple podcasts, Spotify, or Amazon.

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.