In this episode, we look at the music of the 2022 Netflix film of Persuasion with the music written by British composer Stuart Earl. We explore how it uses romantic melodies tinged with melancholy to express the emotions of the main couple, primarily the main heroine Anne. We also explore how the music spans musical genres from classical to jazz influences to minimalism to a pop song by Birdy. Along with that, we also see how this film follows many formulas for romantic comedies.

Host: Ruth Mudge, ruthmudge.com

Music included on this podcast:

"Clifftop Prelude" - Persuasion (Soundtrack from the Netflix Film), music by Stuart Earl, 2022.

"Journey to Uppercross" - Persuasion (Soundtrack from the Netflix Film), music by Stuart Earl, 2022.

"Lanterns" - Persuasion (Soundtrack from the Netflix Film), music by Stuart Earl, 2022.

"Sir Walter Elliot's theme" - Persuasion, music by Stuart Earl, performed by Ruth Mudge, 2024

"Mr. Elliot's theme" - Persuasion, music by Stuart Earl, performed by Ruth Mudge, 2024

"The Letter" - Persuasion (Soundtrack from the Netflix Film), music by Stuart Earl, 2022.

"Into the Sea" - Persuasion (Soundtrack from the Netflix Film), music by Stuart Earl, 2022.

"Orfeo ed Euridice: Act II - Ballo: Andante (Dance of the Blessed Spirits)" - 111 Opera Masterpieces, the Ultimate Collection, music by Christoph Willibald Gluck, performed by Southwest German Chamber Orchestra & Wilhelm Keitel, 1991

"Polifemo: Aria: Alto Giove" - Porpora: Arie d'Opera, music by Nicola Porpora, performed by Angelo Manzotti, Concordia Ensemble & Musici della Concordia, 2009

"Quietly Yours" - Persuasion (Soundtrack from the Netflix Film), music by Birdy, 2022.

"World of Soundtracks" - music by Edith Mudge, graphics by Lindsey Bergsma, 2022

I’ve mentioned it in the other podcasts regarding Persuasion but adapting Persuasion is a challenge. While Anne is not humorous in the book, Jane Austen has quite a few witty and biting things written about Anne’s family so this version transfers that sentiment over to Anne herself. This is similar to the movie of Mansfield Park where they put Austen’s juvenilia writing into Fanny’s voice as well as having her address the camera, again breaking that 4th wall. Here, Anne is the narrator and telling everything from her point of view. While it may not match the character in the book in regards to her empathy and kindness since they choose to tell instead of show, the film does cover the ridiculousness of her relatives, especially Sir Walter and Mary which the pizzicato helps to accentuate with the occasional bells and flute. On the flip side, while the other adaptations match more of the main characters and their journey, the story is more serious and lacks the wit and humor of Austen’s writing. Each one decides to focus on a specific aspect of the story and in this case, they choose to focus on the the humor as well as the second chance of love with pining romantic leads often just missing each other.

Before we move on to the music, I will say one thing. When I first started speaking about Austen soundtracks a few years ago, this movie had yet to come out but was in production. I remember clearly stating that I was quite excited to see this new Persuasion. While I love the other movies, I had been longing for sweeping romantic melodies that matched my interpretation of my favorite book that I didn’t get from the other films.

One to the music itself: One of the aspects that connects this film with the other two is the focus on piano with an accompaniment of mostly strings, keeping the tradition of Anne’s instrument being the main feature. It is also quite common for many romcoms to heavily feature piano as it is often used for more intimate quiet scenes between the main couple so it works for both counts in matching Persuasion and rom-coms. While there is the occasional flute, bells, or higher electronics, piano and strings are the main feature and way of telling the story throughout. However, the piano style and genre does change depending on who the focus is on. The one other main addition is the harp. This addition matches many of the other Austen adaptations that use both piano and harp…in fact, there are very few that only have one or the other.

The most memorable moments musically are the two sweeping melodies for Anne and Frederick’s relationship that are reminiscent of Downton Abbey, Mr. Malcolm’s List, or even Bridgerton.

The main romantic theme “Clifftop Prelude” begins the film as Anne narrates that she almost got married once but was persuaded to refuse him. This version begins showing Anne and Captain Wentworth together during this time of engagement, kissing and cuddling on the cliff, the only film to show the couple before the present day. The piano is introduced with broken chords or arpeggios before moving into the main melody, both romantic and also a bit melancholy with low strings undermining the harmony. The violins join in higher near the end, something often done for a romantic theme to add a feeling of floating and soaring as Anne and Captain Wentworth are shown to be happy together before she gave him up. This theme is also in a compound meter, which is a feeling of 3 that gives a sense of dancing and motion.

This theme returns a few time in the movie, often truncated instead of the full melody. The opening chords in the piano are heard as Anne prepares to see Captain Wentworth for dinner with Louisa helping her get ready.. It is the mental preparation of seeing him for the first time with all the feelings coming back as she speaks about him, remembering one of the things she loved about him being a good listener and yet needing to be repressed about her true feelings to Louisa.

This main theme returns in high synthesizers instead of strings and in the higher piano range, when Anne and Captain Wentworth talk in Lyme. Frederick mentions that he would like to be friends again while Anne reluctantly agrees even though she clearly feels a differently, since she still loves him. In fact, in this version, it is pretty clear that they both have feelings for each other and are a little depressed in agreeing to be friends. They refer to knowing each other well from the past, wanting to return and yet clearly still having barriers from their broken engagement. The music is almost dreamlike, turning the rhythm from being in 3 and making all the melody notes equal and slow in 2, meanwhile lacking the movement of the piano and strings underneath. There is a stillness to it as they are almost tiptoeing around each other trying to keep each other in their lives but very cautious to share their true feelings. Using electronics and synthesizers is something Martin Phipps also did for more dreamlike feelings in his Austen adaptations of Persuasion and Sense and Sensibility.

This main theme finally returns near the end in harp and synthesizers as they talk in Bath after the concert, calming and focusing just in on the two of them as he refers to their past with Anne not being a card player and Anne responding, “I have not changed so much.” The music is again simplified instead of sweeping as they look at each other bringing a stillness even with bustle around them. Adding the harp adds a romantic element to this moment amidst the stillness. It is also another example of hinting at the past while simultaneously loving each other but unable to communicate that especially since Captain Wentworth believes she will marry Mr. Elliott.

The other theme for the main couple occurs as Anne talks about her imaginings vs reality with Captain Wentworth. The first is the “Journey to Uppercross” as she is suddenly confronted with the idea that she will see him again after many years, throwing back the idea that he probably hasn’t forgiven her but then throws out the what if: what if he has been pining for her? Just the way she has been for him all these years, knowing that he hasn’t married. The music which began with harp as she traveled in the coach, switches to another sweeping violin theme as she says this possibility of hope. Like the first one, it is both romantic with hope but also a tinge of melancholy and wistfulness, alternating between minor and major in the chords.

The first time this theme returns is occurs when Captain Wentworth helps Anne into the carriage after she hurts her ankle. This theme is heard in the piano and over high synthesizers, providing a slightly dreamlike scenario as she is almost overwhelmed by it. It is also truncated and in 2 instead of 3, evening out the rhythm, less like a waltz or a dance in the same way that the previous melody did for their interactions. It gives hints of how he used to care while still emphasizing their distance as well as her feeling slightly embarrassed about the whole situation. Things are not as they used to be so even changing the rhythm matches how they are no longer in sync.

This comes back with the piano and underlying strings, making it more intimate as Anne hears near the news of Louisa’s engagement near the end from Lady Russell, assuming that she is engaged to Captain Wentworth followed by crying in the bathtub, imagining that she would handle this moment with grace, expecting it and yet still heartbroken when the event had come. It is another moment with where Anne is dealing with what she had imagined versus the reality in her heartbreak and pining.

The other main theme that returns is one used for transitions. This is very common in many Austen adaptations to have the music accompany the switch of locations, or new characters, or on walks and traveling. In this case, it is often switching to new places but it is a specific theme for these transitions with female voices, harp, bells, and strings. It is charming music, in 3 like many of the other pieces, feeling like a waltz. This is first heard as Anne is left alone at Kellynch Hall after receiving many instructions from her father and sister, one of them being not to go into the shrubberies with the tenant and then transitioning to Anne showing the shrubberies to the Crofts. “Lanterns”

This plays again when Anne goes to Uppercross for dinner, finally seeing Frederick for the first time in years with a violin theme playing, similar to the pining theme but a happier major as everyone enters the dining room. She however, tries to avoid sitting next Captain Wentworth while Louisa tried to set them up. The music reflects the beauty of the lanterns, the happiness of everyone around here, and the overall joy of the majority of the characters.

This music continues as Anne walks behind Louisa and Captain Wentworth, watching Louisa pursue him after sharing her interest in him to Anne, talking about ships in an interested slightly flirtatious way. Not only is it a theme of transition but it is one of movement, not only as they walk, but seemingly seeing Frederick literally move on with Louisa.

The music returns as they transition to Lyme, looking over the sea and meeting Captain Harville, who knows who Anne has been to Captain Wentworth over the years. The final transition moment is near the end as all the Musgroves, Captain Harville, and Anne joyfully reunite at the inn in Bath, also seeing Frederick there as well.

Sadly, the humorous music especially in regards to the Elliot family is not included on the soundtrack. Much of that is in pizzicato or plucked strings, frequently for humor and giving space for the dialogue or in this case, the narration.

The introduction to Sir Walter is quite funny and a little jazzy between the chords, bass pizzicato and the brushes on the snare drum. While I don’t have a snare drum, this can give you a sense of the music sounds like.

Musically, this is under Anne’s description of Sir Walter as he stares at himself in mirror. When he describes himself, the violins make it more classical with arpeggios but using the same chords. It shows the humor of how Anne sees him versus how he sees himself with more class than he might actually possess.

In a similar way, the music for Mr. Elliot is also not included on the soundtrack, combining some of the pizzicato humor with a jazzy style of piano, immediately telling you from the get-go that this man is very aware of himself, full of swagger and charm. It is quite humorous but also matches his bravado as he flirts with Anne while informing her that he is there to stop Mrs. Clay (although the twist of them getting married was not one I was expecting). He also clearly lies to Frederick later one after the concert about getting married to Anne, causing trouble in a different way. His music immediately appears once he does, telling you that he is both trouble and the suave villain. Let’s just say the music is not very subtle.

The other moment that is similar with layers and atmospheric in nature is when Anne decides to wade into the sea in Lyme and float in the water, enjoying freedom and seeking to deal with her emotions in the sea after talking to Frederick saying he wanted to be friends again, half-way through the story. The harp is the moving instrument with the slowly changing but related chords with underlying strings and synthesizers matching the ebb and flow of the sea, especially with the lower strings in the second half while the piano plays a melody in the higher register. This melody also undulates going up and down matching the sea and Anne’s churning feelings as she seeks peace floating in the Sea. “Into the Sea”

This movie probably has one of the biggest range of styles throughout while staying within a mostly modern classical range in regards to instruments at least while still expanding out to minimalism and jazz influences. While Northanger Abbey from the 80s might be the one that pushes the boundaries the most, this one is probably the one staying the closest to modern music.

That being said, there are two examples of classical music being performed in this movie like many Austen adaptations and one pop song is which more unusual.

I highly recommend reading the entire lyrics. Since it is rather long, I’m not going to read all of them but she does capture the essence of this particular adaptation with the following lyrics:

Quietly keeping this hope in my heart

Prayed the night bring back what I lost

Many years have gone by but I never forgot

I’ve always been yours

Only yours

There was a time when I let you go

Allowed myself to be swayed and pulled

But for all my days I make a vow

No words would ever shake me now.

While this style of song was more traditionally used in credits in movies from the 90s like Ever After or Disney movies, it has moved over time to be the accompaniment for the main love moment, combining words and music to reflect even more the feelings of the main couple getting together. Interestingly enough, that happens more in serialized TV series over the past few decades but has made it over to be expected in many movies. We just aren’t used to it being added to our Austen period dramas.

This is the last Austen episode as all the other adaptations lack a soundtrack to share. I’m currently figuring out which direction to go next as there are so many great options to choose. In the meantime, you can join in on discussing all the musical moments regarding your favorite Persuasion in the Facebook group “World of Soundtracks” or on Twitter and Instagram at WoSoundtracks. Please like and subscribe, share with friends, or even leave a review on Apple podcasts, Spotify, or Amazon. I highly recommend subscribing so you don’t miss when the next episode comes out especially as it has a been a little more sporadic. You can also reach out through my website RuthMudge.com. A special thanks to Panzhu from Australia who sent me a lovely message about the podcast. Those messages and reviews do mean a lot to me and reviews on Apple Podcasts, as you probably have heard a million times from other podcasts, do raise the awareness of this podcast to other listeners. I look forward to our next musical journey together.

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.