In this episode, we look at the soundtrack of the 2009 mini-series of Jane Austen's Emma, written by Samuel Sim. We look at how the main theme tells Emma's journey and how it changes for her love story with Mr. Knightley. We compare the use of the cello for Mr. Knightley and Mr. Elton, look at how the clarinet is used for Emma just as it was in the 1996 movie, and the variety of themes and styles to tell the story and reflect the characters, including the use of electronics for memories.

Music included in podcast:

"Piano Concerto No. 26 in D, K 537 "Coronation": 1. Allegro" - Mitsuko Uchido - Mozart: Piano Concertos, music by Wolfgang Amadeus Mozart, performed by English Chamber Orchestra, Jeffrey Tate & Mitsuko Uchido, 1988

"Emma Woodhouse was born" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Emma Main Titles" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Unaccompanied Cello Suite No. 1 in G major, BWV 1007: I. Prelude" - Six Evolutions - Bach: Cello Suites, music by Johann Sebastian Bach, performed by Yo-Yo Ma, 2018

"Knightley's Walk" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Love Story" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"The Last Dance" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Blind Endeavors" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Without Suspicion" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"The Seaside" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Dolls" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Expansion Project" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Playing Harriet" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Cello Sonata in C minor, G. 2: III. Allegro" - Boccherini Cello Sonatas, music by Luigi Boccherini, performed by Jesper Christensen, Gaetano Nasillo, Alessandro Ciccolini & Marco Vitali, 2012

"Superior Men" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Mr. Elton" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Violin Sonata in A minor, Op. 27, No. 2: 1. Prelude "Obsession"" - Bach and Beyond Part 1, music by Eugene Ysaye, performed by Jennifer Koh, 2012

"Walk of Shame" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"The World has Left Us Behind" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Rescued by the Gypsies" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Secrets" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

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

"Arrival of Little Knightleys" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"It's Snowing and Heavily" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"Biscuits Darling" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"A Ball" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"The Town Square" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"The Ship's Cook" - Emma (Original Television Soundtrack), music by Samuel Sim, 2019

"The Bluebells of Scotland" - Raised on Songs and Stories, music by Dora Jordan, performed by John McDermott, 2015

"Piano Sonata No. 21 in C major, Op. 53 "Waldstein": I. Allegro con brio" - Beethoven: Favorite Piano Sonatas, music by Ludwig van Beethoven, performed by Vladimir Ashkenazy, 1997

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

While the opening does resemble Mozart, it does have a few extra modern twists such as a harp glissando. Having it mostly classical sounding helps set the series in the Regency period as well as matching the sense of history as the beginnings are laid out. The clarinet is added and the theme becomes minor as the mother dies and the coffin is taken out, the focus being on Mr Woodhouse protecting his daughters as the solo piano returns. (Opening section “Emma Woodhouse was born”)

The style begins to change a little and returns to minor as young Frank Churchill is handed off to his aunt and uncle following his mother’s death, the theme returning in minor flute then violins.

This leads us into the main title music which is the full orchestral expression of this theme and which opens all the episodes after the first one. This is cheery with the the violins and flute soaring with the main theme, cellos doubling it later on, and the clarinet and horns adding both color and moving patterns underneath. There are also a few chimes sprinkled throughout hinting at church or wedding bells, matching all the weddings and matchmaking that is shown visually in the opening sequence. After the main titles, we again hear clarinet play the opening motif over harp as we transition to Emma, whether it is bored playing with dolls in the first episode, or reading with Harriet in the second. The harp is an instrument that adds a bit of delicacy, romance, and high status and here it has an almost improvisatory nature. “Emma Main Titles”

This theme is not only the Main theme for the series but it is the main theme for Emma and her journey. However, it is used judiciously and particularly with her relationship with Mr. Knightley. Mr. Knightley has his own theme and instrument in the cello and these often get paired together as the series progresses. In fact, this cello theme is first introduced while the violins are playing Emma’s theme over it as Mr. Knightley walks over to tell Emma of what he perceives to be good news regarding Harriet and Mr. Martin even though it turns out that Harriet in fact has already refused Robert Martin. There is both a classical and romantic nature to this theme. It clearly is imitating one of the most famous cello pieces, Bach’s Prelude from the 1st cello suite in G major. In Mr. Knightley’s theme, the cello imitates these change of chords and string crossings but takes it slower, making it a bit more melodic and a duet with the main melody. The clarinet plays at the end as it transitions to Emma helping her father prepare for a walk. “Knightley’s Walk” As a cellist myself, this is one of my favorite tracks to listen to.

There are many other moments that use the clarinet and piano for Emma and the cello for Mr. Knightley, some that we will look at and some that are not on the soundtrack. That’s always good to be aware of when listening and watching this mini-series. After all, with a 4 episode series, I can’t cover everything but those instruments are used quite a lot for them throughout, even outside of their main themes.

A little hint of their melody is heard in the horn over minor arpeggios in the piano after they argue over Harriett and Mr. Martin and Mr. Knightley tells Emma that she will bitterly regret her meddling one day and she watches him walk away. As he walks away, the cello plays a scale going up, increasing the tension before going into credits. Using scalar motion to increase tension with walking up or going down is a method used several times in this mini-series.“Love Story (0:13)”

The main theme plays again in clarinet and piano as they reconnect in seeking to provide harmony amongst their extended family for Christmas dinner and then as Mr. Knightley comes across Emma holding their niece. This version is a bit more slow and gentle to match the feeling of reconciliation and connection. There is also a variation of the theme as we see the transition from winter to spring in the piano and strings.

The piano returns with the main theme after Mr. Weston makes a promise/wager with Emma that he will bring Frank over the next day. This hints at her excitement at finally meeting Frank as well as some expectations of possible romance in the future.

Meanwhile, Mr. Knightley’s theme opens the 3rd episode as he is again walking. Music often accompanies transitions to different scenes or as people travel in Jane Austen adaptations and as Emma is relatively stationary in her location compared to the other novels, it makes sense to have music accompany Mr. Knightley who likes to walk as he goes to visit Emma or the Westons.

One of the most important and recognizable moments of the main theme is Emma and Mr. Knightley’s Dance together. With the story of Emma, there is always the choice whether to use the special dance music for when Mr. Knightley rescues Harriet or when he dances with Emma. Here, they choose to use the special dance to highlight their relationship. The piece is changed from being in 4 to being in 3, which is a common feel for many dances including the waltz, and the accompaniment really reflects that switch, while the melody shortens the notes at the end of each measure to match the feel. It uses a smaller string ensemble to match the sound of the rest of the ball which uses strings and flute, but the piano is added for Emma’s instrument and again to make it more special in comparison to the other dances. There is an intimacy in using a smaller ensemble and it reflects the happiness seen in both characters. “The Last Dance’

This version in 3 returns when Mr. Knightley remembers the dance later on, at this point becoming aware of his feelings for Emma. Later on, the piano plays the main melody as he observes to Emma how at home she looks at Donwell Abbey. The melody for Mr. Knightley is played in the harp as Emma looks at the picture of Box Hill, a present and idea from Mr. Knightley, and then transitions to the actual location. Even when the other character might not be physically present, their theme is heard in the remembrance and influence.

The main theme is played much more slowly in piano chords and clarinet with very little filling in the space when Mr. Knightley is leaving, becoming minor as he says goodbye and almost kisses her hand. Emma is much more subdued having just come from visiting Miss Bates and the intimacy and slower tempo matches the mood. This exact version returns after Emma learns that Harriet was in love with Mr. Knightley and believed he felt the same. The cello and piano begin to have a dialogue over the harp as Emma speaks to herself, realizing how blind she has been and realizing she is in love with Mr. Knightley herself. As she realizes this, the violins soar with her melody but in minor because she believes it is too late. “Blind Endeavours.”

Of course, considering this theme has hit some of the major points of their relationship, then it would make sense for it appear during the proposal. The music takes some ups and downs with major and minor as the emotions change, becoming minor as Mr. Knightley is worried about how Emma will react, overall being quieter and more intimate in this version instead of big romantic swells heard in other versions. But it matches this adaptation, highlighting how both characters are unsure of how the other feels and slowly growing in hope. It draws you in to their special moment and the harp is added near the end to add to the romance. When Emma responds, taking his face into her hands and then they kiss, the main melody plays in piano and clarinet, again in 3. This is their version together, whether it is their dance, their kiss, or at the end. “Blind Endeavours (2:09)”

Emma has a bit of a freakout that they can’t marry as she can’t leave her father, and after Mr. Knightley tells her that he will live with them at Hartfield, his cello theme returns and then the clarinet transitions, beginning with the main melody but changing as they go to tell Mr. Woodhouse their good news. It is also includes a lot of suspensions that almost feel like sighs in the violins. It is minor as Emma is apprehensive to tell her father, but Mr. Knightley holds her hand in support. “Without Suspicion”

The Dance version comes back in full orchestration, beginning with the melody in the clarinet and then in cellos with piano as they leave for their honeymoon. As they arrive at the seaside, the French Horn plays the melody, followed by soaring violins which are used for big climaxes and romantic moments as the series comes to a close. Using the version in 3 and hearing a similar accompaniment harkens back to the Dance and the big moments in their relationship while maintaining the main melody, bookending the series, having heard the melody when Emma was born and now as she is happily married. It followed her journey throughout but particularly her journey with love and Mr. Knightley. “The Seaside”

Speaking of bookends, there is a track that is used near the beginning, and near the end that bookends Emma’s matchmaking career and that is the track “Dolls.” This matches some of the more lighthearted music heard in the series, with fun string patterns and the melody in the violins. This is melody also has a waltz feel to it. A glissando in the glockenspiel sounding like bells transitions to and from weddings, in the beginning from John and Isabella’s wedding to noticing Miss Taylor and Mr. Weston looking at each other in church and at the end, it is used for Robert Martin and Harriet’s wedding over the flute and violin melody. There are also pauses used for comedy and matching what is seen on-screen originally with her plotting and then later on being content with how everything turned out. (0:53). This theme is also used as Emma and Mrs. Weston catch sight of Frank Churchill in the window. It could be seen as matchmaking now from Mrs Weston’s point of view, a fake foreshadowing of Emma and Frank together or an actual foreshadowing of Frank and Jane together. “Dolls - 0:53”

Unlike many other of the Jane Austen adaptations which often have two or three main themes that carry through, this one seems to have a mixture of main themes for a few characters that and others that are only featured a handful of times, giving a greater variety of moods and story telling ideas.

One of the these themes that is present a handful of times is a minor theme that again resembles a waltz and often connected to Emma’s matchmaking. It is first heard in the clarinet as a letter arrives for Harriet from Robert Martin and she sits down to read it, the flute added as she opens it, with harp and trombones added for color along with the piano playing the melody as she runs to tell Emma. This is a romantic moment for Harriet that we all know will be dashed soon. “Expansion Project”

This theme then returns very slowly in the clarinet when Emma realizes that Harriet has fallen in love with Mr. Knightley instead of Frank Churchill near the end. It is more somber over minor chords and the waltz pattern is gone in the accompaniment. What began as a fun scheme to find Harriet a better man has turned into a personal nightmare.

There is another matchmaking theme that also bookends Emma’s plans for Harriet and Mr. Elton which is quite humorous and involving more stops and starts. The clarinet is present over these short notes which also include a xylophone, a very unusual instrument to include in Austen adaptations which adds a little sneaky color and percussion as Emma suggests to Mr. Elton that Harriet would make an excellent subject for a painting. Many instruments play a note here and there to match the humor onscreen and change the color from bassoon and bass clarinet to harp and violins. The scale goes up as Emma tells Harriet that she will be married by the new year. “Playing Harriet”

This theme comes back especially in the violin patterns once Emma starts to realize at the Weston’s Christmas party that Mr. Elton is showing her very marked attentions. He was doing it all along from that first moment and she just couldn’t see it. It’s a fun way of musically hearing his attentions in the beginning of her schemes and then starting to realize that it wasn’t turning out the way she had hoped.

We first hear it when Emma mentions to Harriet that they should think of superior men and see Mr. Elton, passing him on their way to visit the poor. We often hear it when Mr. Elton is arriving on horseback to visit Hartfield. Even if we can’t see his face, we know through the music who is visiting. I am also amused to hear a lot of French Horns in that moment which is often associated with heroes. For Mr. Elton is the hero in his own story. And of course, we can’t ignore that bassoon is also present as he comes across them painting - the instrument of comedy and self-important clergymen. “Superior Men”

This theme reappears as Emma entrusts the painting in his care, in the middle of her argument with Mr. Knightley. It also plays as Emma and John Knightley have to wait for the carriage and pick him up. Mr. Elton is excited for the party even though Harriet is ill, John is keenly aware that his interest is in Emma, and Emma is confused. “Mr. Elton”

However, this theme doesn’t stick just with Mr. Elton but also expands to time with both the Eltons. For example, when Mrs. Elton arrives in church for the first time and he looks on proudly and then again as he leads the donkey to Donwell Abbey with Mrs. Elton on it on the way to strawberry picking. This is in fact the exact same music first used for “Superior Men” and the painting.

In contrast, Robert Martin gets the saddest music of all the themes, being in minor and a bit melancholy in the violin when he goes to see Mr. Knightley for his advice before proposing. It gets dramatic with the harp and brass as he almost turns away and Mr. Knightley calls him in. The violin theme plays again later when Mr. Knightley passes him in the field after his rejection. “Playing Harriet: 1:45”

This sad version of violin arpeggios returns as Emma does some self-reflection on how she treated Miss Bates at the picnic, then walks through the village to visit Miss Bates feeling judged by the people walking by her. It is an interesting connection musically, as this moment is when Emma herself is humbled and brought low. There is also very little action outside of the violin to give space for the the turmoil in her emotions but also the stillness as she reflects at home. There are regrets in her conduct as she has to deal with the consequences of how she acted toward Miss Bates. “Walk of shame”

This version also includes a little bit of electronic music or sound manipulation in the background accompaniment in the beginning of that track. This mini-series has a unique combination of looking back with memories as well as moments of Emma’s imaginations and daydreams throughout the story. Often the dreams are accompanied by a subtle use of electronic music reflecting memories and different perspectives. The first memory occurs as Mrs. Weston leaves, with Miss Bates mentioning that it will feel like a ghost house accompanied with some higher electronic, synth-like sounds and manipulations. The piano enters as Emma walks upstairs and then the two are combined to give it a dreamlike quality as she remembers and sees a young version of herself and Isabella playing with Miss Taylor. It is both melancholy to match Emma’s mood but also sweet in the memories at the same time. “The World has left us behind”

The next one is even more subtle in that a repeated note in the piano continues almost like an echo or a fade-out. This occurs as Frank Churchill is stumbling around trying to tell Emma about Jane, that she probably has noticed his relationship, but in fact makes it unclear, insinuating that he could be in love with Emma. While this is not necessarily a memory, he is referring to his past mixed with his future and the musical idea will return later. “Without Suspicion (0:59)”

These two themes or musical ideas are then combined as she prepares to see Frank Churchill for the first time since this moment. The clarinet plays the theme that occurred when she thought she was in love as she prepares to enter the ballroom in anticipation but then as she realizes that he is in fact not in love with her, the electronic ethereal music from her memory of Miss Taylor returns as she realizes in a voice-over that she doesn’t seem to mind.

After that ball, Emma tries to plunk out one of the songs she had danced with Frank, while underneath we hear strings with a little electronic mixed in as the audience sees Frank riding hard and Harriet in the woods talking to a friend before seeing Harriet arriving at Hartfield being carried by Frank.

This leads to one of the most dramatic exaggerations in the music as Emma pictures the scene of Frank arriving as a knight in shining armor to Harriet’s rescue, complete with French Horns for the heroic arrival to the harp glissandos and cymbal crashes as Harriet faints in his arms. “Rescued from the gypsies. (0:17)”

We return to the repeated note and distortion when Mr. Knightley comes to the conclusion that Emma must love Frank and so leaves after trying to plant the idea that there may be something happening between Jane and Frank to no avail.

A new electronic sound almost like a knocking, occurs in-between repeated bells when Emma learns of Frank’s engagement and then sees flashes of memory both of Frank and Jane in a new light but also trying to make sense of his interactions with her. There is again a dreamlike sound with overlapping parts as she sifts through this. Part of her main melody plays in the flute as she admits that she thought she had been in love with him but that was not in fact the case. “Secrets”

The last time this repeated knocking and hints of memory in the electronics occur is at the end with Mr. Woodhouse by himself at Hartfield right before Emma says goodbye to leave for her honeymoon. No memories are shown but it hints that he is remembering Emma as a young girl before having to say goodbye even for a short period.

In keeping up the drama, one of the most dramatic parts is when it is announced that is snowing at the Weston’s party by John Knightley and chaos ensues. The situation sounds dire with minor string patterns and the piano plays with the French Horns going up resembling great heroic music as Mr. Knightley returns to announce that it isn’t that bad. Everyone rushes to get the carriages ready with glissandos in the harp and flute with the bassoon returning at the end as John tells Emma that Mr. Elton can escort her home. It’s a fantastic little sequence of humor. “It’s snowing and heavily”

Another section imitating a dance is when Frank and Emma decide to throw a ball and start impulsively dancing at the Crown. While one would expect this to also have a waltz pattern, considering how many moments have that feel, but instead it gives a syncopated rhythm similar to a Cha Cha (3 3 2) which you can hear in the bass part. It begins with the harp and bells then switching later to the piano and flute as they start planning. The violin plays as they dance around, giving a taste of the sound of the dancing to come. “A Ball”

Speaking of the Ball, I know I already covered the special dance for Emma and Mr. Knightley, but the rest of the dances fall into the traditional category. Many Austen adaptations choose folk or traditional tunes for their dances using an ensemble of strings and a flute. Here, Samuel Sim wrote the tunes himself in the style of folk and traditional music. This makes him stand out from the other adaptations which use either original music or adapt music already existing. Very few actual imitate the style of music which in itself is a bit more unusual and fun. This adaptation also adds a little percussion such as a tambourine and a bodhran (which is an Irish hand drum) to add a little more rhythm and color in a few of the dances. The ball opens with Emma and Frank Churchill dancing to “the Town Square.” (0:08)

Music chosen for the ball are often a mixture of music in the background during conversation and then intentional for telling the story as we follow the protagonists as they dance. The dance where Mr. Knightley comes to Harriet’s rescue for example is important because Mrs Elton chooses the tune and then decides to sit it out probably because she felt it was beneath her. This shows her arrogance in trying to show her superiority and gentility. It also spurs Mr. Elton to find a new partner and leading to rejecting Harriet. Since “Ship’s Cook” is a very upbeat dance, it also highlights Harriet and Emma’s joy at the end as well as giving the audience joy to see Mr. Knightley enjoying himself even if he disliked dancing as a general rule. “Ship’s Cook” (1:28)

The final portion that tells the audience a lot about the characters is the contrast between Emma and Jane Fairfax as they perform at the Coles. Emma chooses a traditional song “The Bluebells of Scotland” - both charming and relatively easy to sing and play. This is about the Jacobite revolution regarding loving a Highland lad who has gone off to war but that love will keep him safe. Interestingly, Frank Churchill joins in to sing a verse that is less common than the traditional 4 verses. Here are two of the verses of the traditional, the first sung by Emma.

“Oh where, tell me where, has your Highland laddie gone?

He’s gone wi’ streaming banners where noble deeds are done

And it’s oh, in my heart I wish him safe at home.

O Where, tell me where, did your highland laddie dwell?

He dwelt in Bonnie Scotland, where blooms the sweet blue bell, and it’s oh, in my heart I loved my laddie well.”

There are even more musical cues both in the soundtrack and the series but I can’t cover all of them since it is a 4 hour mini-series and quite a variety. I encourage you to listen to the whole soundtrack as it is both a lot of fun and also quite a few different moods to help tell this rich and varied version of Emma from the charming to the humor in matchmaking to the over-dramatic moments to the serious emotional beats. A lot is covered especially since there are relatively few themes that carry through the whole series outside of the main theme, choosing instead to connect smaller threads instead of larger ones throughout. However, there is overall still a connecting charm and instrumental connection especially Emma’s instruments of the piano and clarinet and Mr. Knightley’s cello that help bring a cohesiveness to this story.

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.