It is perhaps only inhibited by the restraint that is inherent in the story. While not exactly pushing the limits of Doyle's compositional range, it is a fine score, beautifully wrought in every respect. The Dreame provides a coda to the rest of the score, functioning as it does as the end credits in the film. However, this being Jane Austen, we are given a joyous happy ending with Throw the Coins which reprises the secondary theme from The Dreame, which allows for a lot more exuberance and a very festive tone. Once these high points have passed, restraint once again becomes tantamount with some more dramatic moments such as the very combre To Die For Love.
![sense and sensibility soundtrack sense and sensibility soundtrack](https://i.ytimg.com/vi/aUuXRfy5jSY/maxresdefault.jpg)
However, this breaks into a more typical Doyle styled cue with a brief finale which features a fast paced string motif. Around halfway through and perhaps one feels that some slight change of pace might be nice, we are presented with several playful scherzos starting with Steam Engine which features playful, Rachel Portman style strings, with bouncing flute and clarinet carrying the tune. 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.
![sense and sensibility soundtrack sense and sensibility soundtrack](https://i.ebayimg.com/images/g/b1kAAOSw88RhN~3H/s-l300.jpg)
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 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.