The two themes are gently interwoven in many of the cues in the first half and occasionally shaded with different dramatic moods, but nothing so strong that the generally gentile atmosphere is broken. The final cue, The Dreame is also performed by Eagen and forms the basis for the second major theme in the score. It could be argued that the singing is just a fraction too operatic, especially given the more restrained tone of the rest, but this is a minor quibble.
SENSE AND SENSIBILITY SOUNDTRACK PIANO FULL
Unfortunately for those who just watched the film, only Kate Winslet's performance, together with solo piano can be heard (although this is not featured here), but the full treatment is simply wonderful. Admittedly this is not the most wieldy of titles or lines for a song, but it is set (using more of Austen's own words as lyrics) effortlessly to music and given a fine performance by Jane Eagen. The scoring is more chamber like in nature, with heavier emphasis on the strings and woodwind with almost no percussion and only the occasional hint of brass.ĭoyle has written several wonderful Arias for his scores, but perhaps my favourite so far is the absolutely stunning weep You No More Sad Fountains. Compared to the strongly etched drama of Shakespeare, Jane Austen's books were more refined, gentile and civilized and as such Patrick Doyle's score is that little more elegant and restrained than the tempestuous moods he created for Henry V or the exuberant sunniness of Much Ado About Nothing.
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