In this episode, we look at the soundtrack of the 2020 movie of Jane Austen's Emma written by Isobel Waller-Bridge and David Schweitzer. We look at how each of the main characters are given both a theme and instrument and how these themes interweave with each other. We also explore the choreography of the music to match the comedy shown, as well as how the folk and classical music help tell the story through emotions, lyrics, as well as reflecting location and class.

Music included in podcast:

"Peter and the Wolf, Op 67, No. 3, The Duck" - Prokofiev: Peter and the Wolf - Saint-Saens: Carnival of the Animals, music by Sergei Prokofiev, performed by Czechoslovak Radio Symphony Orchestra & Ondrej Lenard, 1990

"Cosi Fan Tutte, K. 588: "Sento, Oh Dio, Che Questo Piede" - Mozart: Cosi Fan Tutte, music by Wolfgang Amadeus Mozart, performed by Frank Lopardo, Sir Georg Solti, Chamber Orchestra of Europe, Olaf Bar, Michele Pertusi, Renee Fleming, Anne Sofia von Otter & David Syrus, 1996

"Emma Woodhouse" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Emma and Mr. Knightley (A Kiss Before They Wed)" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Mr. Knightley" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Mr. Knightley Chases after Emma" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Mr. Knightley is Destroyed" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Badly Done, Emma" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Concerto No. 4 in G Major for Piano and Orchestra, Op. 58, II. Andante con moto" - Beethoven: Piano Concerto No. 4 in G major, Op. 58, music by Ludwig van Beethoven, performed by Glenn Gould, Leonard Bernstein & New York Philharmonic, 1961

"The Proposal (Under the Horse Chestnut Tree)" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"A Chill Draft about the Knees" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Harriet Smith" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Harriet Smith and Robert Martin Meet on the Road" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Walk to Mrs. Goddard's School" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Piano Trio No. 1 in B-flat major, Op. 99 D. 898, II. Andante un poco mosso" - Schubert: Piano Trios, music by Franz Schubert, performed by Frank Braley, Gautier Capucon & Renaud Capucon, 2007

"Harriet Smith and Robert Martin Meet in the Rain" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Frank Churchill Arrives at Hartfield" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Danse Macabre: Op. 40" - Saint-Saens: Danse Macabre, music by Camille Saint-Saens, performed by Philharmonia Orchestra & Charles Dutoit, 1981

"Christmas Dinner at the Westons" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Poor Miss Taylor" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"We Shall Have our Ball" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Emma is Bored" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Mrs. Elton Arrives at Hartfield" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Mr. Elton Reveals the Portrait" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Emma is Lost" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"We Cannot do without Dancing" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Six German Dances, K. 536: No. 2 in G" - The Complete Mozart Edition: The Dances & Marches, Vol 2, music by Wolfgang Amadeus Mozart, performed by Wiener Mozart Ensemble & Willi Boskovsky, 1966

"Mr. Turner's Waltz" - Emma (Original Motion Picture Soundtrack), music by Isobel Waller-Bridge & David Schweitzer, 2020

"Country Life" - Emma (Original Motion Picture Soundtrack), performed by the Watersons, 2020

"How Firm a Foundation" - Emma (Original Motion Picture Soundtrack), performed by Maddy Prior & the Carnival Band, 2020

"Hark! Hark What News" - Emma (Original Motion Picture Soundtrack), performed by Maddy Prior & The Carnival Band, 2020

"The Game of Cards" - Emma (Original Motion Picture Soundtrack), performed by Maddy Prior & June Tabor, 2020

"O Waly, Waly" - Emma (Original Motion Picture Soundtrack), performed by John Rutter & the Cambridge Singers, 2020

"The Last Rose of Summer" - Celtic Treasure (Bonus Track Version), music by traditional - Celtic Woman, performed by Haley Westerna, 2005

"Mr. Knightley and Jane Fairfax Duet (Drink to Me Only with Thine Eyes)" - Emma (Original Motion Picture Soundtrack), performed by Johnny Flynn & Amber Anderson, 2020

"Queen Bee" - Emma (Original Motion Picture Soundtrack), music and performed by Johnny Flynn, 2020

"Jane Fairfax Plays Mozart Sonata in F" - Emma (Original Motion Picture Soundtrack), music by Wolfgang Amadeus Mozart, performed by Amber Anderson, 2020

"Minuet and Trio in G Major, K. 1e/f (1761-2)" - Mozart: Complete Keyboard Works, music by Wolfgang Amadeus Mozart, performed by Bart van Oort, 2010

"Jane Fairfax plays Beethoven Sonata No. 23" - Emma (Original Motion Picture Soundtrack), music by Ludwig van Beethoven, performed by Amber Anderson, 2020

"Donwell Abbey (Hadyn's Farewell Symphony)" - Emma (Original Motion Picture Soundtrack), music by Franz Joseph Haydn, 2020

"String Quartet No. 20 in D major, Op. 17, No. 6, Hob. III:30: III. Largo" - Haydn: Complete String Quartets, music by Franz Joseph Haydn, performed by Kodaly Quartet, 1994

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

First of all, I would like to welcome any new listeners! It’s been fun to see this slowly grow over the past few months especially internationally. I am very excited to talk about this film version of Emma. Like many in the Jane Austen community, this was the last film that I saw before lockdown so quite a few things stayed with me.

This film is a bit of a controversial one as far as style is concerned especially regarding musical preferences but to me, the music is one of the best parts of the film. It has almost everything one would want in a Jane Austen film: classical music, folk music, comedy, themes and instruments for individual characters. The only thing it doesn’t have is diegetic music which is music used in the film world that is also part of the soundtrack by the composer. There is a lot of music to cover so this probably will be the longest podcast to date. Thankfully, almost everything is on the soundtrack or titled in the credits at the end of the film so you can find it.

Opera gives the sense of status and entitlement as we see the opening first words from the book “Emma Woodhouse, handsome, clever, and rich” and then we Emma pointing out to the servants exactly which flower should be cut for Miss Taylor’s bouquet. The other things to pay attention to are the additions of bells, clarinet, and strings with little trills and their quick alternations of notes. The bells are both a nod to wedding bells but also a light magical sound. Clarinet and strings are used a lot in Austen adaptations harkening back to Mozart. In fact, clarinet was the main instrument for Emma in both of the other recent adaptations. The other more unusual color is the harpsichord…a slightly old fashioned Baroque keyboard instrument that notes both status and comedy. It could be implied for Mr. Woodhouse, being slightly stuck in the past and his specific ways of doing things and how his life is intertwined with his daughter. The singers sing “Ahs” as she walks down the hallway with the flowers with the Title Emma overlaying the image, being almost bridal and giving a sense of the entire movie. Finally, the piano is added at the end, a softer version of what the harpsichord can offer, more romantic in nature, giving it a slightly softer feel even the midst of a jaunty, upbeat piece. “Emma Woodhouse”

One thing you may have noticed at the beginning of that theme was the French Horn. This is Mr. Knightley’s instrument and motif. The French Horn is often used for heroes and occurs in two different tempos in his introduction, the slower for the more romantic, noble, sensitive hero as he gets dressed and then the faster tempo as he walks around the house heading towards Hartfield, containing more energy reflecting the hero that likes to walk everywhere, giving it a vitality. The motif goes up almost like a hunting call, something that a horn was used for and fitting an independent gentleman of that era. I will admit I was delighted when I first heard and saw it, as the movie was not subtle about the French Horn being the instrument for Mr. Knightley. The other thing to take note of is the flute that flits around during the second part. The flute is used to represent excitement throughout the film and it also lends an energy as he is eager to visit the Woodhouses. The music, of course, switches to Emma’s theme as Emma sees him approaching and runs to start playing the pianoforte. “Mr. Knightley”

One nerdy thing to be aware of: the top notes that the French Horn motif plays are also the first notes in Emma’s theme played in the bells. Their themes are literally intertwined and connected like the characters and their families from the beginning. I’m going to play both briefly again so we can pay attention to it. (Emma, Mr. Knightley)

Since the main romance is between these two characters, it would make sense that their themes would overlap in more places than just the beginning of the wedding. The first of these examples is after the ball. The horn plays as Mr. Knightley sees Emma leave in the carriage and begins to run after her. It is the slow and romantic version reflecting all of his emotions while the female opera singer enters over harp as Emma sits in the window. Then her harp theme begins as she runs to down to meet him while the bells enter with their theme. “Mr. Knightley chases after Emma”

The voice is used not only for the pomp and circumstance of Emma’s situation but also to express emotions when the characters can’t say anything yet. We heard that both in this past example as well as when Mr. Knightley arrives home in despair after believing Emma chose Frank Churchill, tearing off his coat and lying down in the floor accompanied by his French Horn and the female opera singer in the fantastically titled “Mr. Knightley is Destroyed” (0:15)

The piano is an instrument often used for quiet intimate moments in film, and in this movie, used sparingly so that it has more impact its solo moments. One of these moments is when Mr. Knightley’s theme plays slowly occurs as everyone leaves Emma and Frank alone at Box Hill after she insults Miss Bates with the horn entering as Mr. Knightley walks up to her while she waits in the carriage right before he scolds her, leaving things unresolved as it moves into silence during their dialogue. The feeling is reminiscent of a Schubert or Beethoven piano chamber piece, imitating the Beethoven piano concerto which had been played at the beginning of the Box Hill excursion. This is the 4th Beethoven piano concerto, a piece that was significant to the director, performed by Glen Gould at the beginning of Box Hill. (Beethoven) Now, this is the music for the scene with piano at the end of Box Hill. (Badly done, Emma)

Mixing comedy with the romantic is heard as they sit around the fire later with Mr. Woodhouse. The same music of the proposal is heard but in pizzicato, plucked strings often used for comedy, being short and providing a lot of space to match the movements combined with a few short notes in the clarinet. The harpsichord remerges playing the melody as Mr. Woodhouse talks about a draft around the knees, providing a screen for privacy for Emma and Mr. Knightley. “A Chill draft around the knees”

The solo piano returns playing a little bit of Emma’s theme as she kisses Mr Knightley, and then moves straight into playing Mr. Knightley’s theme, in a lower register, with the added romantic violin as he kisses her back. “Emma and Mr. Knightley”

The other musical theme that Emma interplays with the most is Harriet Smith’s. Harriet Smith’s theme is in the violin as a simple, almost folk like melody. This will tie into the folk music we will talk about later. While Frank Churchill’s theme also uses violin, the style is so different that there is no problem in getting them confused. We first hear Harriet’s theme as she comes to visit Emma for tea. You can also hear the flute fill in the space as she is excited to visit the great house. It is a bit of nervous excitement reflected in the winds. (Harriet Smith)

is a good moment to point out that a good amount of the music is used for transitions, especially as characters are walking, as is the case for many other Austen adaptations. In a similar fashion to other Austen adaptations, there still is a lot of silence for the dialogue and intimate moments.

Sometimes, the accompaniment of someone’s theme or use of instrument is used for more subtle or short moments. An example of this is the use of the harp to represent Emma when she introduces Harriet to Mr. Elton. “Harriet Smith” (1:05)

Robert Martin has his own instrument in the English Horn, which is a larger and lower oboe. This instrument is used in orchestral settings for more countryside or bucolic settings so it seems appropriate to use for the romantic farmer. When Harriet sees Mr. Martin, her theme plays twice as fast, with a fluttering flute representing her excitement and nerves, followed by her theme in the English Horn as they interact. It is both sweet and a little comical. There is also a background with harp and bells as Emma looks on. It then switches to Emma’s harp motif as Emma gives her opinions about Mr. Martin. “Harriet Smith and Robert Martin Meet on the Road”

When Harriet receives Mr Martin’s proposal and chooses to refuse it with Emma’s guidance, the piano plays minor chords with the violin echoing a note with the harp, musically showing that Emma is leading Harriett down this path. Later on, we can hear the voice of opera singers as she walks to visit Harriett at Mrs. Goddard’s school before she discovers Harriet is sick, portraying her level of superiority and the little smirk she has, while the girls running by to greet her in the foyer are reflected in the winds. “Walk to Mrs. Goddard’s School”

The English Horn enters as they talk in the rain, both a little sad and depressed. ‘Harriet Smith and Robert Martin Meet in the Rain” (1:07)

A great example of instruments sharing themes is when Harriet shares with Emma that she has fallen in love again. The violin plays the melody while piano and bells are added to the mixture, but it is Mr. Knightley’s theme that we hear. Even though Emma believes Harriet is talking about Frank Churchill, the melody tells us that it is Mr. Knightley that Harriet is falling for. “Mr. Knightley is Destroyed”

Now, the violin so far has been used for romantic moments for the main couple, for a folk melody for Harriet, but it is also used in a more seductive tango-like melody for Frank Churchill. We first hear it when he arrives asking for directions, while Emma is waiting for Harriet in an open carriage. The melody is then played in the flute over pizzicato reflecting her excitement to meet him as they are introduced in the greenhouse by the Westons. This theme is a bit lower in the violin for that seductive and more sophisticated feel. (Frank Churchill Arrives at Hartfield) This theme reminds me of the violin solo in Saint-Saens’ Danse Macabre. (0:42)

The violin section plays Frank’s theme as winds join them as Frank and Emma walk to Highbury towards the store. Having the feeling akin to a waltz adds a slightly romantic vibe and the idea of dancing around each other. (Frank Churchill Arrives 0:53)

Emma’s Italian Opera theme returns as Mr. Knightley meets Mr. Churchill at the Coles’ party, and then the tenor voice enters as she walks between them. It is appropriate to play this music in this scenario because Emma has always felt superior to the Coles and slightly condescended to come because Frank will be there. It is also a little bit of a rivalry hinted at and that she seems to be slightly enjoying this, especially after Mr. Knightley had just called Frank Churchill a fop. “Supper Party at the Coles”

The winds play trills as the women gossip over Jane Fairfax’s new piano but over the accompamental chords of Frank Churchill’s theme giving a little musical hint to the audience. His theme first plays in the oboe and the violin as he suggests to Emma that Mr. Dixon was the gifter of the piano. Frank Churchill’s theme returns one last time in the film in the violins and cellos when he arrives at Donwell Abbey after Jane left and he stays to talk to Emma about his discontent.

A slightly seductive waltz leads us to a tango, which is present at two meals featuring the Westons. The first time is the celebration dinner after the wedding as the camera pans down the table, showing everyone eating and giving a glimpse to the audience of what these characters are like as they interact. This theme then returns for the Christmas dinner at the Westons. The theme does seem to be similar or foreshadowing Frank Churchill’s theme but the accompaniment is more of a tango feel as she tries to get more information about Frank Churchill while Mr. Elton is showing more attentions to her than she appreciates. It is a bit of a dance as these families interact and as Emma shows interest in Frank before he arrives. “Christmas Dinner at the Weston’s”

This leads into the overdramatizing or exaggerating that occurs for comedic purposes in this film. The music is intentionally over the top, at the desire of the director. Not only that but a lot of the comedy and music is a choreography with a note specifically placed to match a head turn or a cloth thrown. One of the examples of this is near the beginning as Mr. Woodhouse jumps down the stairs declaring “Poor Miss Taylor.” This Mr. Woodhouse has energy and yet frenetic about any possible draft that may appear. We hear a big swell and timpani hits as he jumps down, the bassoon and clarinet have a dialogue similar to the operatic voices as he and Emma talk about the upcoming wedding for Miss Taylor as they get ready to leave to attend it. Then the orchestra takes this comedic theme as they continue in the carriage with the harpsichord present. “Poor Miss Taylor.”

This fun theme returns as everyone arrives at the ball, Miss Bates admiring everything, Mrs. Elton talking to Jane about her dress, and a little pizzicato as Frank and Mr Knightley look at each other followed by the timpani rolling as they look away. “We Shall Have our Ball” (0:46)

The next comedic melody occurs as Emma is bored at the beginning after the wedding. She has yet to meet Harriet and is getting dressed before having breakfast with her father. It also sets the transition to Autumn. The accompaniment begins first, a repeating pattern heard in both pizzicato, clarinet and bassoon, which provides a unique color. This bass line pattern also leads to the sense of repetition and boredom felt by Emma. “Emma is bored’

One of the best over-dramatic pieces is used in two different spots. The first is when Emma sees Miss Bates through the window at the store and tries to avoid her while Miss Bates tells her about Jane’s letter. It opens with almost a low growl in the bassoon and bass clarinet. This music is again used when everyone sees Mrs. Elton for the first sitting in the Woodhouse pew at church. It matches their head swivels, with every head nod and look matched with a note from bells and other instruments. The bassoon plays as Mr. Elton walks down. While he doesn’t have a specific theme in this version, the bassoon is heard frequently in his scenes, matching the need for comic bassoon to be used for clergyman in Jane Austen adaptations. The music continues as the Eltons have tea at Hartfield. “Mrs. Elton Arrives at Hartfield.”

I highly recommend paying to the music in that scene and the following to notice how everything lines up. The other perfectly timed scene is when Mr. Elton presents the portrait framed in a music box. The operatic voices are used again both for Emma and for the sheer extravagance of the frame, the violin present for Harriet, the bassoon for Mr. Elton and you can hear the timing part-way through with two discordant chords as he throws off the cloth into one of the servant’s faces to reveal the frame. There is a growing crescendo leading to the opening of the doors and then it is revealed to be a music box. It’s a fantastically ridiculous scene and it knows it. “Mr. Elton Reveals the Portrait”

Last, but not least in this style of comedic music, is during the proposal. After all the beautiful music with the heartfelt words, Emma has a nosebleed heard with pizzicato and trills and then the music becomes over-dramatic as she refuses the proposal because of Harriet, with the flute going up and down as their emotions are going up and down. They do get it all straightened out as she determines to explain everything to Robert Martin with the violin soaring up. A section of horns returns with a few chords as Mr. Knightley walks away thrilled once they get everything resolved. “The Proposal” (2:00)

There is one moment that is both a little comical but also serious when used a second time and that is the use of the solo soprano voice to represent the unveiling of the soul and emotions of our female heroines. There is always a choice in an Austen adaptation to have what is considered special music for the dance of the main couple or in the case of Emma, the choice whether to have the special music either for Mr. Knightley’s dance with Emma or when he comes to Harriet’s rescue after being snubbed by Mr. Elton. In this case, the dance music remains with the traditional tunes used for all the dances, but a single soprano voice sings as Mr. Knightley walks to Harriet, being snubbed between dances, with almost angelic light behind him. It perfectly captures her feelings at the moment as the voice quality is not operatic like the rest of the movie but instead with minimal vibrato to help it soar and reflect the vulnerability.

This voice is used again as Emma becomes aware of her feelings right after Harriet leaves, having told Emma about her feelings for Mr. Knightley and that she had refused Mr. Martin because of her. It is an unveiling of Emma’s feelings and while it was a moment of being found for Harriet in the ball, here it is almost a sense of loss. The voice sings over high strings, slowly moving with Emma’s harp motif entering while Mr. Knightley and Emma walk towards each other on the grounds leading up to the proposal. “Emma is lost”

Speaking of the ball, we now to turn to the dance and folk music. The only music written by the composer that resembles folk tunes for dancing is as Emma and Frank Churchill begin planning to have a ball, dancing around charis in the street. The violin and harp play but it is not the slinky Frank sound, but instead, the sound of a folk violin that you would hear at one of these dances, staying in 3, which is a common Minuet or Waltz time signature. “We cannot do without dancing”

Now, before you get upset about stealing and copyright issues, you do have to realize that many famous pieces were reduced to a smaller group for regular use. This still happens today with your favorite music, especially for those who play piano. While Turner probably shouldn’t have named it after himself, the idea of adapting it from an orchestral version to the melody for a single player or small group makes sense from a practical side of things and was very common. This theme is in minor with a little bit of a pedal tone or single note in the bass at the beginning which is heard a little more clearly in this Turner version. The slower tempo gives the main couple time to stare and become aware of each other as they dance, especially as they aren’t dancing with gloves. “Mr. Turner’s waltz.”

What makes this adaptation unique is using sung folk music as part of the storytelling throughout the film past the dances or songs performed in the drawing room. This is an aspect that is probably the most controversial for viewers as they either loved it or were really taken aback. While the folk style of singing can sound guttural and harsh to some, it is a great way of doing two things. Folk music is used for the town of Highbury, as you see Mrs. Goddard’s girls walking by in their red cloaks, and especially for Harriet and Robert Martin. It provides an earthiness and the kind of music they would be hearing and singing themselves. It also works in the same way that you hear songs in current romantic comedies, each providing words to fit the scene and set the mood. It has the same function that the pop songs of the 90s work in Clueless, another adaptation of Emma. It tells you about the characters while setting the environment.

The opening verse goes as follows:

I like to rise when the sun she rises,

Early in the morning

And I like to hear them small birds singing,

Merrily upon their laylums

And hurrah for the life of a country boy,

And to ramble in the new mowed hay.

(Country Life)

This hymn is heard twice in regards to Robert Martin and visiting his farm. First when Mr. Knightley rides over to visit him, inviting him to check out something regarding farming. The second is when Emma visits him at the end, as he opens up the picture of Harriet that Emma had painted. While neither of these scenes are particularly religious, it does give the setting of someone who is stalwart and faithful, firmly in the ground for what he does for a living but steadfast in his love for Harriet as well.

“How firm a foundation, ye saints of the Lord

Is laid for your faith in his excellent Word

What more can He say than to you He hath said

You, who unto Jesus for refuge have fled?”

“How Firm a Foundation"

“Hark! Hark what news the angels bring:

Glad tidings of a newborn King.

Born of a maid, a virgin pure,

Born without sin, from guilt secure.”

It’s a fun idea to use a Christmas carol not really known by the audience and the contrast of a happy song, singing of the baby without sin while you hear lots of strife in the carriage arriving for Christmas.

“Hark! Hark what news”

“As I was a-walking one midsummer’s morning

I heard the birds whistle and the nightingales play

And there did I spy a beautiful maiden

As I was a-walking all on the highway

O where are you going, my fair pretty lady?

O where are you going so early this morn?

She said:”I’m going down to visit my neighbors;

I’m going down to Warwick, the place I was born”

It’s “May I come with you, my sweet pretty darling?

May I go along in your sweet company?”

Then she turned her head and smiling all at me

Saying:” You may come with me, kind sir, if you please.” - “Game of Cards”

“The water is wide, I cannot get o’er

And neither have I wings to fly

Give me a boat that will carry two

And both shall row, my love and I

O’down in the meadows the other day

A-gathering flowers both fine and gay

A-gathering flowers both red and blue

I little thought what love can do” - O Waly Waly

Emma sings the first verse and then adds the last two lines of the last stanza for the extra dramatic sigh.

“Tis the last rose of summer,

Left blooming alone;

All her lovely companions

Are faded and gone;

No flower of her kindred,

No rose-bud is nigh,

To reflect back her blushes

Or give sigh for sigh!

Oh, who would inhabit

This bleak world alone?”

This recording is performed by the Celtic Woman.

“Drink to me” also became a famous Johnny Cash song.

Only the first stanza is sung in the movie.

“Drink to me only with thine eyes,

And I will pledge with mine;

Or leave a kiss within the cup,

And I’ll not ask for wine.

The thirst that from the soul doth rise

Doth ask a drink divine;

But might I of Jove’s nectar sup,

I would not change for thine.”

Pretty romantic words and combined with a look that Jane gives Mr. Knightley, can definitely lend itself to why Emma is looking a bit put-out throughout the song.

Due to Johnny Flynn not only being a singer but also a song-writer, he was asked to write and perform the last song for the credits “Queen Bee.” This is in the style of the folk-songs already heard but also a song from Mr. Knightley’s perspective. Since the rest of the movie is really from Emma’s perspective, it’s an unusual choice to end from Mr Knightley’s view but it still is regarding his view on Emma herself. Emma has been described by Jane Austen as a “character who no one much likes except myself” and even at the beginning of this film, she shows some of those arrogant and self-focused tendencies. This songs helps to see how Mr. Knightley views her as the film ends with their wedding. My Queen Bee describes how Emma is the center of Highbury, a powerful woman who will stay that way even in their marriage but also romantic throughout the years and seasons in his devotion to her. The song covers all the seasons in the way that the film has a title sequence for each changing season.

Connected to that, the director Autumn was asked to sing as a back-up singer on the song and he put in a line for both her and Bill Nighy who played Mr. Woodhouse: “Autumn’s flourish” “Summer’s turn is nigh.”

“All is for my mistress, all is for my maid

Sweetness that I took for, sweetness that she gave to me

My queen bee

Though my heart has long been given to you

Summer’s turn is nigh.

Swifts and swallows swoop and yearn for you

With all that’s in the sky.

But blow the wind and come the rain and come my love again.

Autumn’s flourish fruit that falls for you

Apples sweet as death

All that falls has lived and died for you

Gently come to rest

Winter’s kiss has some enthralled

So they keep their fires bright

But my breast is lit with flames to shun

The dying of the light

I’ll speak love’s truth with oak and ash for you

Sing through April’s tears

I will weave the bonny flowers of spring for you

I will walk for years.” - “Queen Bee”

Returning to the drawing room performances leads us to the classical music portion. One of the most important parts of these home concerts is to show the contrast of Emma and Jane in their ability levels as well as their personalities and interactions. Emma felt superior with her song until Jane beings to play. This version heightens it in a very funny moments as Harriet tells Emma that no-one can play as well after Emma sings the “Last Rose of Summer” only for Jane to begin playing the third movement of Mozart’s Piano Sonata in F major quite skillfully and fast. Their look of surprise is fantastic when they hear this:

“Jane Fairfax plays Mozart Sonata in F”

The pianoforte is heard several times throughout the film, the first time as Emma sits down near the beginning to play “Minuet and Trio in G major” by Mozart. She runs and starts playing as she sees Mr. Knightley approach the house, most likely to show that she is industrious and not just lounging around like she had been a minute ago. I will say that Emma plays it about half the speed as this recording which also tells you about her level of ability and her willingness to practice. “Minuet and Trio”

In contrast, Jane Fairfax plays stormy romantic Beethoven at home after the debacle of Box Hill to relieve her feelings and also accompanying Emma’s feelings after being scolded by Mr. Knightley and coming to the Bates’ home to apologize. This piano sonata, no 23 is known as the “Appassionata” sonata and can be reflected even in this slower second movement. It is used both in seeing the character who has been shown as icy to have great passion and feelings underneath, but also reflects the turmoil of Emma’s feelings. “Jane Fairfax plays Beethoven”

The other piece featured by Haydn is one of his many string quartets, Quartet No. 20, op 17, the third movement. This Quartet plays as Emma returns home after visiting Miss Bates following the Box Hill disaster only to discover Mr. Knightley leaving and saying goodbye. It also follows Emma getting undressed and covering her hands over her face over the whole situation and finally transitioning to the picture of Frank Churchill’s Estate at the Westons as Emma asks what has happened. This music is a little more subdued and while still keeping a certain level of order and class, it is also a little intimate. In general, Emma’s music is light, fun, and a bit over the top, while Mr. Knightley’s is grand and romantic. Neither of those themes would match their subdued emotions at this time while still presenting on the surface that everything is alright, which is why classical music fits that place very nicely. “Haydn String Quartet”

As I mentioned before, this film has a rare combination of original music tailored for each character, especially in regards to humor but also using classical and folk music to aid in telling the story when necessary. These are techniques frequently used in other kinds of movies but less familiar to the Austen adaptations in using all three to this extent. The music captures Emma’s essence as handsome, clever and rich but yet still growing as a person through her relationships with Mr. Knightley and Harriet Smith. The folk and classical music grounds the world in music from that time period, giving the setting of class and letting the lyrics help tell the story in a different way. Whether this is your favorite version of an Emma adaptation or not, one cannot deny that the music is a crucial part of telling the story.

This Fall, I am going to swerve and focus on a different set of book adaptations, namely the Harry Potter series. I do plan on returning to Mansfield Park and Persuasion in the Winter for all you Jane Austen fans. Thank you so much for all your support in listening. I do really appreciate your comments and feedback! You can join in on discussing all the musical moments regarding this Emma or all of them on the Facebook group “World of Soundtracks” or on Twitter and Instagram at WoSoundtracks. I would love to know your favorite musical moment or track from this movie. 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 the end of each month.

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.