As You Like It – Patrick Doyle 2007 (mp3-320)

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Many thanks, Erich!

MERRY CHRISTMAS��
MERRY CHRISTMAS��

Obrigado Eric

Ditto on all 3 counts! 🙂

by Christopher Coleman

~ Tracksounds
Wax On, Doyle-San!
Review by Christopher Coleman

Director Kenneth Branagh’s most recent attempt to bring Shakespeare to the big screen is AS YOU LIKE IT – one of the Bard’s most popular comedies. Unfortunately, Branagh was only partially successful. While the film made it to theaters in the United Kingdom, AS YOU LIKE IT only made it the DVD racks in the United States. And, especially in light of the amount of shrot that does actually make it to screens here, it is doubly shameful that this release was so confined. As Kenneth Branagh does with his film-adaptations of Shakespeare’s plays, he puts an interesting spin on the telling. Instead of being set in France, the setting is 19th century Japan. Among other things, this choice had a significant effect on the film’s score, which was, once again, written by Branagh’s composer of choice, PATRICK DOYLE. AS YOU LIKE IT makes it the seventh collaboration between the director and composer and Patrick Doyle waxes on with his own musical eloquence to match that of The Bard’s words, and Branagh’s offbeat vision.

Director Branagh’s choice to set the film in Japan remains as much as mystery as it is compelling. It was certainly eye-catching to see actor Brian Blessed dawning full samurai armor as well as many other characters in quasi-Japanese garb. The question as to why this setting was preferrable to France was never apparent to me in the context of the film. Whatever Branagh’s reasons, that choice of setting did give PATRICK DOYLE opportunity to do something special for the film’s score – the inclusion of Japanese instrumentation.

Early in the soundtrack we hear a stronger Japanese influence than we do at its conclusion. Track 1 "Kabuki Attack" is clearly the most "Japanese" of all the music – depicting a Kabuki performance before the royal Duke’s court, we here the flute accompanied by harp, finger cymbals, koto and cello. Doyle builds in increasing tension as the coup is preparing to be initiated during the performance. The track concludes with a few moments of action music – which is a rarity through the balance of the score. The aforementioned flute and koto in track 1 are also heard in "Under the Greenwood Tree" (7), and in "Blow Blow" (9). Additionally, taiko drums and a gong are found in track 4, "Too Late a Week," which add a distinct tension to the concluding moments of the piece. But as the score carries on, these elements fade into the background with only an occasional highlight placed upon them.

The hinge of this entire score is the love theme. As the central theme of the play, itself, is that of "love" (and all varying manners of it), it’s only natural that the film’s main musical-theme be a love theme. We are first given a glimpse of it in track 5, "The Forest of Arden." This rather eclectic track gives a few notes of the title theme on the flute, but merely flirts with us. Doyle teases us further in the very next track "Roynish Clown" (6), again "Eat No More" (8) and yet again in "Thy Brother" (10). It isn’t until the closing moments of track 11, "Trip Aubrey" that we get our first taste of the love theme performed more fully on violin. But that final tease if followed by the sumptuously innocent "Fake Wedding" (12) and from here on out the theme, performed on the violin, is the mainstay of the score. All the remaining tracks, save two, prominently feature Doyle’s sweet creation.

If you’re looking for other, more "active" musical moments, you’ll be hard-pressed to find them, but there are a few. The conclusion of track 1 "Kabuki Attack," "Brothers Fight" (2) and a few beats in "Lion Attack" (13) is all you are going to get. Sorry, fellows, but this isn’t HENRY V. What this is, is a Shakespearean-romantic comedy with a solid romantic score and Doyle-San waxes musically eloquent and appropriate for this project. AS YOU LIKE IT features one of the composer’s most beautiful and memorable themes of his stellar career. Just have a listen to "Fake Wedding" (17), "Weddings" (19) and "Violin Romance" (19). (Guys, give any one these three tracks a play while apologizing to your girl for burping too loud, forgetting her birthday, or whatever faux pas you have committed, and you’ll be forgiven by the track’s mid-way point. I promise.)

It truly was a shame that AS YOU LIKE IT did not make it to the US box office as it featured some wonderful acting by Bryce Dallas Howard, Alfred Molina, and David Oyelowo. Additionally, PATRICK DOYLE has a surprisingly significant role as Amiens (an attendant to the banished Duke) and sings two of his own compositions: "Under the Greenwood Tree" (7) "Blow Blow" (9). There is a third vocal piece serving as the finale of the film "A Lover and His Lass" (18) which, albeit fairly brief, can sit well alongside many Broadway finales. If you are a sucker for a pretty melody and enjoy the sort of theme that used to flow effortlessly from the pens of composers like Max Steiner, David Raskin, or Alfred Newman, then AS YOU LIKE IT has something special to offer you.

in Scorenotes

Patrick Doyle returns closer to form with his score for HBO’s, "As You Like It," a film directed by Kenneth Branaugh.

"As You Like It" is yet another Shakespeare adaptation from Branaugh, only this time, its presented on the small screen in the form of an original HBO movie. Longtime collaborators Doyle and Branaugh reunited for this project and the pairing typically makes for good results in both film and score. Many of you are probably familiar with Doyle’s past efforts in this vein with works such as "Henry V" and "Hamlet," both of which offered above average scores, and both providing excellent support for Branaugh’s productions.

The soundtrack for "As You Like It" has been released at a near identical time to that of "The Last Legion," Doyle’s other entry in the Summer of 2007. While ‘Legion’ seemed to underwhelm and lack any emotional connection with the listener, "As You Like It" is a more accurate representation of Doyle’s work. Clearly to me, and this is just my opinion, Doyle probably had a better motivation with "As You Like It" due to the talent behind it. The score for this instance has far more depth than that of ‘Legion,’ and has more thought to it.

The music for "As You Like It" has a calming effect. It’s a score that offers affectionate melodies and feels as though its in no rush. To that end, it’s a timeless piece of work that is accommodating to listen to. Given the story involved, there is a nicely developed fusion of Japanese influenced melodies that add a very nice texture to the score. Balanced neatly between the sweet motifs, it gives the listener a firmly planted sense of where the story is taking place, which is always a nice thing to help a score relate to its movie.

As far as bold, dramatic statements — this score doesn’t offer any of that as compared to the likes of "Henry V". In its stead, there is music that is classical in nature and melodic in the right moments. However, the score’s unassuming nature is what probably keeps it from truly standing out as a memorable body of work. It’s nice, it’s enjoyable and calm, but these are the very reasons why some of you may not find "As You Like It" to be a score that offers great replay value.

In any event, it’s pleasing to hear Patrick Doyle right the ship with this effort. It’s an above average effort that is in tune with his style, so that alone should prompt satisfaction with his fans. Personally, I enjoyed it for what it was and that is a score for a well made television movie. It’s not a soundtrack that will become a hallmark, but it is one that serviceable and appealing, and that’s good enough to get the job done here.

by Tom Daish

~ Filmmuziek

Review of Tom Daish

Kenneth Branagh has been turning his directing attentions to some of the Bard’s less well known works recently, in particular Love’s Labour’s Lost which I don’t think anyone beyond Shakespeare scholars and the odd GSCE student knew much about. As You Like It is a little better known, and does contain one of his most famous monologues starting with ‘All the world’s a stage And all the men and women merely players.’ Don’t say you never learn anything here. Dead cultured me. Like yoghurt. For some reason, Branagh decided to relocate the setting from France to Japan although, as has been noted, despite a strong Japanese resonance at the beginning (Kabuki Attack), this fizzles out as the action moves to the Forest of Arden; that well known area of Japan (or Warwickshire). Similarly, Patrick Doyle’s delicate score gently suggests the orient, albeit not to any greater extent than the film itself. As its title would suggest, Kabuki Attack is a dramatic opening, the film inserting a bit of ninja action into Shakespeare (there’s something you don’t read every day) and Doyle adds in a touch of Tan Dun, although Doyle is one of those composers who rarely sounds like anyone else but himself.
Brothers Fight continues the more dramatic opening, but Niece! sets the rather more subdued tone that pervades the lengthy middle of the score. Like the film itself, much of the Japanese style in the music fairly superficial in its incorporation. Under the Greenwood Tree is a song performed by (I think – one annoying feature of an iTunes download is the paucity of credits provided) Doyle himself which is a typical Doyle melody, but with plucked pentatonic backing. Another song, Blow Blow, continues in this vein; there’s no attempt to make the melody sound Japanese, just the way it’s arranged, which is very low key, but equally lovely. Indeed, low key sums up the score’s general mood, but, anchored by a memorable main theme, it doesn’t lose too much focus, There are a couple of playful interludes to rouse the listener, notably the brief but delightful Trip Audrey. Only in the later tracks does the music move above a dull roar; even titles that suggest something more exciting – all but the last minute or so of Lion Attack, for example – are as picturesque as the rest.

However, as the machinations of the lead characters start to resolve, Doyle opens the music out and Weddings and A Lover & His Lass inject a little more of the outgoing, sunny optimism that marked out Much Ado About Nothing. Indeed, Doyle repeats the concept of having an ensemble, choral finale in A Lover & His Lass with another delightful and memorable melody (albeit a touch Christmassy in execution, but that’s no bad thing), surely destined to go down as a compilation staple. As is the Violin Romance, a gorgeous summary of the main themes, that closes the album. I’m at something of a loss to draw a definite conclusion about As You Like It a little light pruning of the middle tracks wouldn’t have gone amiss. It certainly doesn’t have the dramatic or melodic variety of his Much Ado despite being absolutely gorgeous from start to finish. If the rating seems a bit mean, then it just shows that ratings are all relative. A delightful score, if just not as strong as his finest.

Thanks in advance!

The dvd has been released for the BBC televised version of the Renaissance Company’s production of "Twelfth Night or What You Will". It was released in tandem with a 1976 version of "Romeo and Juliet". While most of the music is burried under the dialogue, there is a nice little coda at the end sung by Feste, the clown. It is the McCartney song, I think.

Also of interest is the cd release of the 1993 radio broadcast of the Renaissance Company’s "King Lear". It stars John Giulgud as Lear, as well as many other Branagh regulars. Of interest to film music and Doyle fans are two tracks called 1st Interval Music and 2nd Interval Music. unfortunately they are synth tracks and don’t deliver the grandeur we have come to appreciate from Doyle, but they are interesting nonetheless.

Again it would be wonderful to hear these fully orchestrated and released on a compilation album. Perhaps Cliff Eidelman would step up to do a sequel album to his great Romeo and Juliet compilation.

I have a wish list of music from Shakespearean films, many of which have never been released, others that are difficult to find. In addition to Doyle, there are Nino Rota’s 1967 "Much ado About Nothing", Sir Richard Rodney Bennett’s "Hamlet At Elsinore" (1964), Ennio Morricone’s "Symphony for Richard III" (very apropos with the recent archealogical findings of Richard’s bones. Terence Blanchard’s "Tempest" (1998), Per Norgard’s "Royal deceit" (aka ‘Prince of Jutland") (based on Hamlet),
Carl Davis’ "Merchant of Venice" (1980) and "MacBeth" (1983). George Fenton’s "Stage Beauty" (2004), Stomu Yamashta’s "Tempest" (for the Cassavetes film), John Addison’s "Hamlet" (1969), Richard Hartley’s "A Thousand Acres" (based on Lear), Stanley Myers’ "Rosencrantz And Guildenstern Are Dead" Carlo Siliotto’s "Julius Caesar" (2002) and Stephen Warbeck’s "The Hollow Crown" (2012).

Most of these names are sufficiently well known, I believe to insure an album would be well received among collectors. Of course if you add a track from James Horner’s upcoming "Romeo and Juliet" it couldn’t hurt.

I had to bought it myself, score added in Flac, any reply for the links…

Well, not just interesting, this is great music!

I’ve sent you both, enjoy!

As you like it!, enjoy 🙂

Why? It’s a pleasure for me buddy, enjoy!

A pleasure.

Enjoy!

Of course my darling, enjoy it!

The links are in your Inbox my friend.

Okay.

You got it.

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Thread 200392

Gracias por adelantado.

May I have a link for "As you like it"? (mp3)

Thanks a lot in advance

Is a link to Doyle’s As You Like It still available?
Would be much appreciated!

🙂