In this episode, we look at the music of Mansfield Park (1999) written by Lesley Barber. We explore how the music aids in telling the story of this adaptation in combining elements of the Baroque and classical era with the minimalism in styles reflecting the older Austen story with Rozema's modern view. We also see the juxtaposition of using traditional classical instruments for Austen adaptations with the less common whether the marimba, glass harmonica, or hurdy-gurdy.

Host: Ruth Mudge

Music included in podcast:

"Violin Concerto No. 3 in A Major, Hob. VIIa/3: II. Adagio" - Hadyn: Violin & Cello Concertos, music by Franz Joseph Haydn, Performed by Northern Sinfonia and Christian Tetzlaff, 1991

"Symphony No. 1 in D major, Op. 25, "Classical": III. Gavotta: non troppo Allegro" - Prokofiev: Symphony No. 1 in D major - Symphony No.5, music by Sergei Prokofiev, Performed by New York Philharmonic & Leonard Bernstein, 1967, remastered 2011

"Theme from Mansfield Park" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Keep your Wig on" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Mansfield Park (Reprise)" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Busy Nothings" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"String Quartet No. 2 (Company): IV. Quarter note = 160" - Kronos Quartet Performs Philip Glass, music by Philip Glass, performed by the Kronos Quartet, 1995

"Leaving Portsmouth" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Harangue" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"You will marry him" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"I don't know you" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Introductions" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Game of Cards" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Lover's Vows" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Sentimental Journey" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"As a Man Loves a Woman" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"I Spoke in Haste" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Run Mad as Often as you Choose" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"I missed you" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"I see more Distinctly through the Rain" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Tom Leaves" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Paying for the Party" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Djonga (Slavery)" - Mansfield Park (Music from the Motion Picture), music by Salif Keita, Chucho Merchan, and Lesley Barber, 1999

"Adagio for Glass Harmonica, K. 617a" - Glass & Stones, music by Wolfgang Amadeus Mozart, performed by Vienna Glass Armonica Duo, 2006

"Glass" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Mary's Harp" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

"Fireworks" - Mansfield Park (Music from the Motion Picture), music by Lesley Barber, 1999

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

First of all, I would like to thank you for your patience in waiting for this episode. I am in a very busy season of my life, including wedding planning, so it is taking a bit longer than normal to get episodes completed. Things may be a bit more sporadic this year but I appreciate all the encouragement and understanding that I have received from all of you especially in the Facebook group.

In the Mansfield Park main theme the melody is first heard back and forth between the cellos and then the violas, before passing along to violins. As the melody moves between instruments playing one or two notes, it gives an angular feeling matching Fanny’s biting comments that will occur later. (Theme from Mansfield Park). This is followed by the solo violin melody emulating the Baroque style of Vivaldi before the orchestration fills in single notes or chords through the winds and Brass, again combining the old and the new. This combination of Baroque and Classical with the layers of color and rhythm from minimalism is actually used much more in later period dramas from Martin Phipps’ Sense and Sensibility to Sanditon to Bridgerton. Barber in some ways was slightly ahead of the time in film scores where it become more common to accompany emotional scenes or to set the stage with colors, layers and motifs instead of giving complete melodies which you can sing afterwards. “Theme from Mansfield Park” (0:45)

This theme for Fanny and her writing returns in the film as Edmund gives young Fanny paper after she first arrives at Mansfield Park so that she can write Suzie after he discovers her homesick in the attic. It then continues as she narrates some of Austen’s early juvenilia including the history of the Kings and Queens of England, as young Fanny morphs into adult Fanny. This is heard in the track Paper and Pen. However, since it is almost exactly the same as the main theme just heard down to the same tempo and orchestration, we will move on to when the music slightly changes.

The theme is expanded with harp and strings in a more romantic sound as Edmund and Fanny proceed to go riding together near the beginning of the film, with a mixture of seeing the beautiful golden fields and a lot of slow motion of both the riders and the horses. Unfortunately, this version is not on the soundtrack which does point out one or two questions regarding the choices of what is put on and what is left off. We will notice a handful of themes that are almost identical used in different moments in the movie and then music that is left off. It is unclear to me who gets to make those choices…the composer or the studio. It is pretty common to have music left off as it is impossible to include all the music and generally, they are trying to create a cohesive album especially before the days of streaming where you can pick and choose which track you want to listen to. This album keeps that cohesiveness in mind by not having the tracks in chronological order but mixing them to keep the variety of styles and moods interesting throughout. Personally, I prefer the chronological approach as it is easier to place within the movie but each composer and recording studios have their own preferences.

Back to the main theme, it returns for the music at the ball held in Fanny’s honor. The tempo is slightly slower and more stately with much of the underpinnings in pizzicato as the ball opens and Fanny and Edmund talk. This is followed by the high instruments of violin pizzicato, harp and flute which play the main melody with the bassoon and cellos playing the countermelody as Mary Crawford confronts Edmund with the idea that he loves Fanny. He is taking aback especially since he believes he is falling in love with Mary but then replies “There are all kinds of love.” “Keep your wig on” (0:29)

The tempo begins to pick up, predominantly in the strings with a few accents of horns and flute to fill in the spaces and colors as Fanny dances with Mr Crawford and Edmund dances with Mary, all enjoying the dancing and each other’s company combined with more slow movement shots. It is perhaps one of the most stylized and artistically shot of all the Austen balls to that date. The music lends to a certain magic and feeling as lights and characters spin around. (1:11)

This theme is also used sparingly as many other themes are used for the home and the Crawfords which we will delve into in a minute. It returns in two different forms to bookend the end of the film. Just as we see and hear Fanny’s narration in the beginning to Susan, the film is wrapped up as Fanny gives an account of what happens to all the characters using much of Austen’s own narration. What sets this apart from the beginning is that there is a pause as Fanny says “it could have turned out differently, I suppose…but it didn’t” as the characters also briefly freeze on the screen before moving on to their lives. This happens twice as the audience is told what happens to Maria and Aunt Norris and then again to the Crawfords, beginning to wrap things up in a neat little bow, the pause giving a little visual humor. “Mansfield Park reprise” (0:49)

A solo violin then transitions to the climax of Edmund and Fanny’s relationship which is a different theme and texture. After this, the main theme returns including the pauses as Fanny continues to wrap up the narration, telling what happens with all the various characters at Mansfield Park, including Susan joining them and the switch to investing in tobacco. The music continues as Edmund and Fanny walk to their home at the parsonage as Edmund talks to Fanny about publishing her books, as the credits begin to roll over them fulfilling a true bookend in using the theme not only for the credits at the beginning and end but also keeping the focus on Fanny and storytelling from a young girl to the possibility of publishing her works at the end.

The other theme used most frequently for Fanny’s narration is the track ‘Busy nothings” keeping the sound of pizzicato in the lower strings and space between notes as the harp and strings alternate. It maintains space for narration and comedy as Fanny writes home to Susan but also breaking the fourth wall by staring into the camera, informing her and the audience near the beginning about Lady Bertram taking opium to Maria becoming engaged to Mr Rushworth to Sir Thomas gone in Antigua to Mrs. Norris’ husband dying and her subsequent move to Mansfield Park. All of these events are rushed through with the melody in the harp and the piano adding a little interest in the rhythm and chords (1 2and 3 4) with more emphasis on 2 and 4 to set things off balance, breaking the rules of the strong beats being on 1 and 3, with a few discordant notes thrown in to match both the humor but also the bitting way Fanny observes the family and shown in a ridiculous manner. “Busy Nothings” (0:52)

This returns as Fanny narrates over the wedding of Maria and Mr. Rushworth, stating that the bride was clearly marrying without affection, having fallen in love with Henry Crawford. Fanny also mentions Mary’s harp being transported with harp, xylophone, and piano playing as it goes across the field. The xylophone is an unusual instrument as it is much more modern and not usually played in an Austen films but it gives a certain high metallic and sharp quality matching the tone of the film. “Busy Nothings” (0:31)

The first example of minimalism in the film is when Fanny prepares to leave Portsmouth as a child, being rushed out by her mother, saying goodbye to her siblings, and not knowing when she is returning. The second violins play a repeated pattern reminiscent of a clock tick tock, flute and piano are added for a little high rhythmic color repeating the same note, and then all the strings join in for the same eighth note repeated patterns as the oboe, piano, flute and high violin take turns with a melody as she travels through the country and towards the unknown family, also passing a slave ship on the coast, hearing singing as she passes. That singing is not part of this track but heard later in the end credits song. The music continues to grow and crescendos as she arrives at Mansfield Park. All of this lends to the feeling of moving, moving away from everyone she leaves and knows. “Leaving Portsmouth”

After receiving a whirlwind tour of the family and the house, making it clear that she was not entirely welcome or to be received on equal footing, her aunt Mrs. Norris finally deposits her in her own room in the attic. The piano and harp repeat the same sad minor alternating notes with a flute playing over it as she cries and writes in her head to Susan that she has been given away before Edmund arrives and distracts her as the music quiets. “Harangue”

This becomes Fanny’s theme for her grief especially in being put down by members of the Bertram family, becoming excluded, and reflects turmoil even if she is not allowed to express it to the family members. It plays after Mrs. Norris humiliates Fanny as the whole group is talking about putting on the play “Lovers Vows” and asks her: “Why are you here?” And then sends her out to get more sewing, clearly showing that she is not an equal part of the family. A similar version occurs as Sir Thomas berates Fanny for refusing Henry Crawford, telling her that he is disappointed in her and her conceit in independence, refusing to yield. The piano overlaps the same patterns with low bass and cello notes added to give depth, weight and darkness and high violins are added instead of the flute, as his VoiceOver overlaps with itself, telling her that she is not thinking of her family, that she does not her own mind or emotions. There is a cycling throughout the music in waves, as the music goes higher as he tells her that she is throwing away her life in front of her aunts, Edmund and Mary as the day changes both time and location but still hearing his voice and seeing her reactions. This version has a lot more dissonance as the piano begins to jump more and more as more voices give their opinions such as Mary and Lady Bertram before ending in silence with Edmund’s opinion. All the circling emotions are heard as she receives a constant berating. ’You will marry him’ (1:40)

This music of internal grief with the piano and low strings is also used when Fanny receives a letter from Edmund later on while in Portsmouth, saying that Mary Crawford is the only woman he can think of as his wife. Henry Crawford comforts her, currently trying to wait and persuade her to change her mind, as she grieves this final confirmation that there is no hope for a future with Edmund.

This music is then transferred to Edmund and Mary Crawford at the end as his eyes are opened to her worldliness after Henry and Maria run away together. Edmund tells Mary that she was a figment of his imagination and that he has no desire to know the real person, who would speak of his advantage in his brother’s death to become the heir and blaming Fanny for rejecting Henry leading to the crises of him running away with Maria. This time the music accompanies Mary’s humiliation as she leaves and Fanny’s justification and worth recognized in the eyes of the family and Edmund. The strings fill in the chords a little more over the piano but most of it is very similar. It doesn’t include as much of the basses, however, which leads to a little less heaviness and a little more bittersweet quality as he lets go the person he had idolized in his head. “I don’t know you”

Quite a bit of the music is around the Crawfords. Both Mary and Henry bring a worldliness and charm that beguiles and enlivens the Bertrams. It is as if they have all been woken up and yet put under a spell. This begins as the Crawfords enter the drawing room for the first time, with trills in the strings as the melody goes up and cards fall to the floor. A drum is heard as both Crawfords are panned foot to head for the greatest affect. This bass drum adds a depth of drama and danger and the oboe which joins in is often used for a seductive mood. Harp is also present as that is the instrument that Mary plays, presenting a level of sophistication. Mr. Rushworth, Maria’s betrothed, is accompanied by the bassoon, often the instrument for buffoonish or comical characters in Austen such as Mr. Collins or Mr. Elton and also fitting for this portrayal. The rhythmic element in the piano (1 2and 3 4) was also heard during the narration regarding Maria and Mr. Rushworth earlier, in its way a motif for their relationship, a dance that seems slightly out of sync while Fanny is watching everything unfold. “Introductions”

Similar music continues in the harp and piano, as flirting already begins to commence around the card table while Fanny watches on. Clarinet is subtly added into the mix, an instrument often used in the classical era especially through Mozart and in Austen films. The continued breaks of silence and pauses add to the comedy heard throughout the majority of the music, while both the audience and Fanny watch the group try to impress one another without hearing any words. While many Austen films use silence to hear the dialogue, this film has several scenes without words accompanied by music, wishing to show rather than tell in a brief amount of time the dynamics between the characters. “Game of Cards”

This same music is used as the Mansfield Park characters are shown primping before their mirrors, especially the women, before meeting up with the Crawfords again. Julia and Maria using makeup, Mrs. Norris trying a flower, Lady Bertram taking opium, and Fanny just briefly glancing at the mirror before walking away.

In the same vein, similar music plays as everyone rehearses for the play Lover’s Vows. The hints of flirtation that had begun at the card table have become much more obvious and even starting to cross some moral lines as Mary rehearses with Fanny with Edmund watching, both uncomfortable as Mary puts her arms around Fanny in a very seductive manner as harp plays with a little pizzicato, with the lilt in the violins that plays the seductive melody that the oboe had played earlier. “Lover’s Vows” (0:20)

The cellos join in this style of melody as the drums and bassoon return, seeing the play unfold and rehearsals around Mansfield Park, especially Henry Crawford’s rehearsing with Maria, and Mr. Rushworth struggling with his lines but excited about his pink satin cloak. The music fills in the gaps again balancing both the questionable misconduct in some of the family and friends with the ridiculous nature of others as Fanny and the audience see everything that is happening throughout the rooms. “Lover’s Vows 0:49”

The underlying part with the harp and strings returns one last time later in the film, when Mary sends a letter to Fanny, mentioning that both she and her brother ran into Maria, now married, who seemed disturbed to hear that Henry was courting Fanny. This music had accompanied Maria’s interactions with Henry, beginning with a flirtation at the card table but then hoping for so much more after their encounters while practicing for the play. Maria was never indifferent to Henry and so the music continues as the film shows their interaction through the letter.

This begins to set Henry Crawford up both as the unwanted suitor but also as a romantic alternative for Fanny in escaping the poverty level of her birth family in Portsmouth. Not only is this theme used at the beginning of their relationship but then plays at the culmination as he proposes in Portsmouth for the second time, this time as she accepts. An oboe is added as she accepts, harp chords play as they kiss and then the music turns to minor as she wakes up with horror and regret, possibly taking a page out of Austen’s own one night engagement.

A similar theme, if not the exact one, plays again as everyone returns to Mansfield Park, Henry and Fanny seeing each other for the first time after she broke the engagement. It accompanies a long almost regretful look before Fanny goes and nurses Tom who is sick.

However, this music of harp and swells in different instruments is used again for Edmund and Fanny at the end. In many ways, it redeems this theme of love that Fanny craved but from the man she has loved from the beginning. This is the proposal that she has desired as Edmund finally realizes that it is Fanny he has loved all this time and tells her that he loves her like a man loves a woman and as a hero loves a heroine to her surprise and then delight. The music has time to blossom a little more before the solo harp plays as they kiss and she looks happy as she looks into the camera. “As a Man loves a woman” (1:28)

Now, I will admit that I love when a theme is transformed into the love theme at the end to represent the growth of a relationship. I’m a big fan of bookends and themes returning. That being said, I’m not as thrilled that they used the same one for both Henry and Edmund’s proposals down to the same harp music for the kiss. I would have loved different instrumentation or even a slightly change of tempo, something to set it apart and let the audience know that Edmund is the one, that this is the special moment. Music should be telling the story not only with the same theme but altering it to fit the moments and the emotions of the character. What I could argue and guess is that Barber chose to keep them the same as it reflects the emotions of Fanny and not necessarily the man proposing. It is a sweet romantic theme where she feels seen and valued. She will receive freedom in being loved and respected.

The idea of a repeated harp pattern, or in this case, an ostinato was also used when Fanny broke off the engagement with Henry, saying that she was not prepared and still doubted him. Henry is angry and betrayed after being so happy when he arrived, yelling that she was the one that was untrustworthy. Earlier, the harp pattern was slower going up, rising with hope and joy. Now, it moves quicker and comes down, reflecting the emotional turmoil of everything falling apart as the violins play little sighs in minor. “I spoke in haste”

But happened between that first reading of Stern, the second proposal in Portsmouth and then the following rejection? How did Edmund fit into this story as the unrequited love of Fanny? For much of the movie centers around the messy love triangle or square. Edmund falls in love with Mary who seems to be inclined towards him but not his profession as a clergyman. Fanny is in love with Edmund who sees her as a sister. Henry falls in love with Fanny first as a challenge and then sincerely, or at least so it appears in this version. While Maria is at the beginning and the end, much of the plot from the book is moved through quickly or cut out of the movie in order to focus more on the relationship possibility between Fanny and Henry. Fanny does seem to be more inclined towards Henry after the ball, on the flush of having danced and perhaps a little bit of drinking. When she arrives in her room a bit giddy, she looks outside her window to see Henry charmingly bowing to her outside. Her heart seems to be slightly touched as the piano, often an instrument for more intimate or quiet moments, and strings play quietly accompanying it. The music is smooth or legato and a contrast to much of the music before it, setting up the stage for the first proposal. “Run mad as often as you choose”

Like many 1st or disaster proposals in Austen films, there is no music to accompany it, especially since Fanny thought Henry was joking as he catches her on the stairs. The music instead accompanies Sir Thomas as he berates her for making a mistake and then suggests that she should go back to Portsmouth to have time to realize how much her life has been improved by living with them. To essentially have a wake-up call and change of scenery. Fanny desires to go home to be with her family, to be amongst her equals and to be loved again. Minimalistic piano accompanies her as she says goodbye to Edmund and Mary, both sad that she refused Henry, with Edmund hinting that he will write if he has good news towards an engagement himself which sends Fanny into tears. The music reflects this inward grief of saying goodbye to the person she loves unrequited in being minor but also the feeling of jagged movement both emotionally and for going once again on a journey. (0:49) “I missed you"

Strings join in swells as she drives away back on the same route that she had made arriving to Mansfield Park. There are hints of classical harmonies but the switching of the notes in a slightly unusual progression between the highs and lows make things feel unstable to reflect the inner turmoil of Fanny as she leaves one home to go back to her original one. It is much quieter than the movement of strings when she first left. Everything calms down with less motion and more chords as she arrives back as she nervously approaches the door of her family that she hasn’t seen since she left as a child and is greeted by her mother at the door. “I missed you” (2:11)

This music is then used again for her journey back to Mansfield Park with Edmund, who arrives to bring her back after Tom has fallen gravely ill. She says goodbye this time to her sister Susan again, before they travel back on the road, Edmund telling Fanny that he missed her, that he believes Mary is close to saying yes to his proposal, asked about Henry and whether her heart had changed to which she replied that it had several times before having their hands close to each other, and ending with Edmund falling asleep on her shoulder as they head home at night. It encapsulates that sense of longing and missing both family and love whether going back to Portsmouth or back to Mansfield.

The final thread in the story is regarding Sir Thomas, portrayed as the true villain in this movie, both as a rigid father and uncle and as a slave owner with his plantations in Antigua. As the head of the family, the rot and lack of morality while appearing to be righteous all stems from him, in many ways influencing the choices that his children made in either rebellion and through neglect or left in the spoiling care of Aunt Norris. Woven throughout the story is the idea that setting up his daughters and Fanny for marriage could be conceived as a form of slavery, as well as Tom’s drinking and partying being a response to the horrors and hypocrisy he saw in Antigua with his Father, leading to his terrible illness at the end.

This first appears after Sir Thomas returns from Antigua as they all sit around in the drawing room, Sir Thomas filling them into how things were going at the plantations with several distasteful comments. Fanny brings up abolition which brings his attention to her while the piano repeats the same notes alternating with a repeated note on the marimba low over the strings. “I see more distinctly in the rain”

After staring at Fanny in an uncomfortable way, seeing her beauty improved and worthy of bringing to men’s attention and possibly a good marriage, she quickly leaves the room and escapes to ride on her horse through the rain, after Edmund runs after her. She says that she doesn’t want to be sold off into marriage and he tells her that she is overacting. Strings then soar as she rides her horse in the rain, including some more slow motion, providing her some freedom as she feels trapped while the piano plays quicker chords to provide the sense of movement. “I see more distinctly through the rain” (1:00)

Fanny isn’t the only one seeking to escape as the marimba accompanies Tom as he and Yates flee after the play has been disbanded due to the arrival of Sir Thomas. Tom had spent time with Sir Thomas in Antigua and seeks to be elsewhere both for fun but also to avoid him. It is also a bit lighthearted as everyone tries to return back to normal life but clearly affected by the events of the play. “Tom Leaves”

The marimba returns when Sir Thomas commands Fanny to marry Henry Crawford and she refuses stating that she does not trust him having seen his actions with Maria but of course, does not inform Sir Thomas of that detail. His reaction is of anger, disappointment and confusion and the repeated notes on the marimba interspersed with the sad strings hint of that feeling of slavery into marriage that Fanny is feeling as he expresses his opinions. This all happens before the grief music that I talked about earlier occurs as the day continues into night and then into the following day. “You will marry him”

This music is then used much later when Mary gives her plan to help restore Henry and Maria to society after the elope at the end, while the whole family is in shock as she outlines that Edmund and she will be able to help them once Tom most likely dies from his illness and Edmund becomes the heir as well as suggesting that the whole debacle could be left at Fanny’s feet for refusing Henry. This is the only time the marimba is not used specifically for Sir Thomas but to represent the lack of morality and heart that Mary exposes in herself in her plans.

Everything comes to a head in the story in regards to Sir Thomas when Fanny discovers Tom’s drawings from Antigua while she is nursing him, discovering horrifying pictures of abuse in many forms done by many men including Sir Thomas. Violin arpeggios, reflecting the Baroque and classical nobility crash with discordant chords, and the vocal cry heard with the slave ship intermixes with it as she goes through the pictures. The drama continues along with French horns and string patterns as Sir Thomas enters, sees the drawings, and sends Fanny to her room. It is another scene where the visuals and music tell the horrifying story with very few words involved. “Paying for the party” (0:29)

Not only is Sir Thomas exposed but later on that night, Fanny is woken up by Tom’s coughing and illness and accidentally opens the wrong door to help him only to discover Maria and Henry in bed together with the harp plays intermittently. A discordant violin chord plays as she opens the door and the harp, which had been playing consistent ostinatos or patterns in both the good and bad parts of their relationship is now broken with a few notes here and a few there. A gong plays symbolizing the total break of any kind of relationship and then the clarinet enters as she runs into Tom’s room to Edmund who then discovers the couple with Maria then quoting the starling section from earlier. “I cannot get out” Musically, nothing quite fits or matches together melodically or rhythmically, a jumble of seemingly random collection of notes in complete contrast to the sense of minimalism or the classical style that provides order. “Paying for the party” (2:33)

Finally, Edmund comforts Fanny with harp and higher violins playing, both instruments often used for romantic moments as he almost kisses her. However, this scene is also right after the full betrayal of Henry and Maria so it remains in minor. It portrays tension of many sorts especially for Fanny who had gone back and forth regarding Henry but now almost kissed by the man she does love, overwhelmed by everything that happened that night. This part actually reminds me of the soundtrack from the British show Poldark in how the strings are used and the harmonies. “Paying for the party” (3:29)

The vocal cry heard both with the slave ships and then the drawings is heard during the last song for the credits called Djonga or Slavery written and sung by Malian singer Salif Keita, who was known for a long time as the Golden voice of Africa and a pioneer in afro-pop. This fits into the trend of many films to use a pop song at the end of the movie even if it doesn’t quite fit the rest of the movie musically. Most Austen adaptations used the sound of opera instead but Barber and Keita break the traditional mold of Austen adaptations to fit in with the narrative and themes that they wanted to make clear to the audience in regards to the family of Mansfield Park having money on the back of the plantations and slavery, leaving the movie on a more reflective feel for the audience instead of just rejoicing in the happiness of the couple being together at the end. Unfortunately, I have had trouble finding a translation for the lyrics but you can still enjoy the opening of this song. ‘Djonga”

Like the dance in the ball, Barber and Rozema chose to have original pieces to fit the score instead of pulling in classical pieces or folk tunes. In this case, even the view of the sisters is through tinted glass at first as they play this instrument as Fanny watches Mary on her own horse with Edmund, Lady Bertram asleep, and Tom arriving drunk with Mr. Yates. There is a laziness or hazy quality that matches a warm summer day being idle, bored, and lacking clarity. This also gives a level of class and wealth as it is not an instrument featured in the everyday parlor. It is also the same melody that was heard in the marimba as Tom leaves Mansfield Park. “Glass” (0:32)

In the same way, Mary performs the harp later on for Fanny, mentioning that it is Edmund’s favorite. The harp piece is also an original work for this movie but only the end is heard. This is pretty common when a piece is written for a movie or even using a pre-existing piece as it is rare to have time to hear the whole thing. There are a lot more pauses and stops between motifs or phrases than would be commonly heard at that time possibly for extra dramatic effect as Mary watches her audience. (0:50)

Finally, we have the hurdy-gurdy in Portsmouth. Like the marimba for slavery and the harp and glass harmonica for the wealth, class, and elegance of the Bertrams and Crawfords, this folk instrument reflects the shipping port and the level of class that Fanny originally comes from.The hurdy-gurdy is seen played by a teenage boy, turning the wheel on the strings using the attached keyboard to play the melody. It’s an instrument that has been around since the Medieval ages if not earlier and was also very popular in the Renaissance period. Mixed in with the hurdy-gurdy is the harp, piano and flute movement to reflect the freeing and releasing of the birds from their cage, a gift from Henry Crawford to Fanny, remembering the quote he had first read with her about the Starlings getting out, symbolizing a joyous offer of freedom as the birds fly away in slow motion. This is one of the most magical moments and is definitely reflected in the music in a combination of flowing arpeggios to the grounding feeling of the hurdy-gurdy and drums. “Fireworks”

This version of Mansfield Park contains a mixture of the modern with the hints of the old, in an adaptation that loosely holds the structure and characters from Austen’s novel and creating something more modern to connect with a modern audience. It’s slightly edgy, yet using the voice of Austen herself in the protagonist, while Rozema joins that voice to highlight various kinds of slavery, the class systems, morality, and the freedom of having a voice. Fanny Price is one whose voice is often squelched but with a few people who see her worth which continues to grow and be appreciated by the end. The unusual choices of marimba, glass harmonica, and hurdy-gurdy are mixed along the typical strings, piano and harp ensemble used for Austen period dramas that reflect the modern themes while setting it in the Regency era. The combination of disjointed melodies, repeated patterns, and dissonance are also intermixed with some beautiful flowing passages, matching humor, and angst that represent the character’s emotions. While not everyone’s favorite soundtrack, Mansfield Park matches the feel of the movie to not only create something new but also lead the way to how soundtracks especially in period dramas, will begin to sound in the next decade or two.

Next time, I will be focusing on three different Persuasions for the last episode on Jane Austen adaptations. Each have a unique focus in telling the story yet none of them are quite the perfect soundtrack for my favorite Austen novel, at least in my opinion. In the meantime, you can join in on discussing all the musical moments regarding this Mansfield Park adaptation 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.

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.