MOVIE MUSIC UK

MOVIE MUSIC UK CLASSICS

Original Review by Craig Lysy

In 1941 independent producer David O. Selznick hired director John Houseman to write the script for his next project, a retelling of Charlotte Bronte’s classic novel, Jane Eyre; ultimately the screenplay was realized thanks to the collaboration of fellow director Robert Stevenson and writer Aldous Huxley. However, at this point of his career, Selznick was tired and seeking a respite from producing films. As such he sold production rights for Jane Eyre and several other films to William Goetz of 20th Century Fox. Kenneth MacGowan and Orson Welles were assigned to produce the film and Robert Stevenson was tasked with directing. Welles would star as Edward Rochester with Joan Fontaine as Jane Eyre. Joining them would be a fine cast which included Margaret O’Brien as Adele Verans, Peggy Ann Garner as young Jane Eyre, John Sutton as Dr. Rivers, Sara Allgood as Bessie, Agnes Moorhead as Mrs. Reed and Elizabeth Taylor as Helen Burns.

Bronte’s story offers a tragic tale, which abounds with heartache and pathos. It explores the life of the titular Jane, who is orphaned and harshly treated by her aunt, who sends her off to a charity boarding school for young girls. She is cruelly treated there also, but perseveres and graduates, turning down an offer to accept a teaching post and remain. She instead accepts a job as governess at the Thornfield estate of Edward Rochester. Despite a difficult start, over time Edward falls in love with her and proposes marriage, which Jane happily accepts. However, she is devastated on her wedding day by a dark revelation from Edward’s past, which presents an insurmountable impediment to their happiness. The film did not receive critical acclaim, earning no Academy Award nominations, nor was it commercially successful, as it failed to cover its production cost of $1.71 million.

Zanuck initially sought the services of Igor Stravinsky to score the film, but when negotiations were unfruitful he hired Bernard Herrmann, on the advice of Selznick and Welles; Hermann had already previously worked with Welles as a director, on Citizen Kane in 1941 and The Magnificent Ambersons in 1942. Herrmann was surprised at the offer and accepted, as he was familiar with the novel and inspired by the possibilities. The score is fourth in his canon, his longest, and what I believe his most romantic. Indeed, it is precious in that it is such a departure from his more succinct compositional sensibilities, which define the rest of his scoring legacy. In conceiving his score Herrmann understood that Jane and Edward were kindred in that they were both lost souls who had suffered in life, unable to achieve happiness. He understood that he would have to speak to the story’s mystery, tragedy, devastation and gothic auras. To that end he adopted leitmotifs in the fine tradition of Max Steiner to support the film’s narrative.

Three primary themes are provided; Jane’s Theme offers a traditional feminine construct which emotes with a wavering solo oboe tenero draped with strings doloroso and harp glissandi adornment. Its overt gentility captures Jane’s tenderness, her loneliness, and yet we discern within the notes a hidden strength. Herrmann’s conception for Jane is not static, indeed as she evolves from child, to young woman, to lover her theme too evolves, achieving wondrous expression when love for Edward evokes its blossoming. Perfectly juxtaposed is the masculine power of Edward’s Theme, which perfectly captures his tempestuousness, virility, and gruff persona that hides within a tortured psyche, aching bitter, and lonely. Forceful horns, timpani and menacing strings convey his imperiousness and power, yet within the auras of his melody we discern melancholia, a hidden and unspoken sadness. The third primary theme is the Love Theme, which is kindred to both Jane and Edward’s themes in that all three emote in the F key; Jane’s F# minor, Edward’s F Major, and the Love Theme F Minor. It commences with the first four notes of Edward’s Theme and offers the longest theme in Herrmann’s canon lasting 23 bars with 18 key transitions. Yearning strings full of passion carry its ardent expression, fully capturing the longing of these two lost souls desperate for love’s fulfillment. Lastly, Herrmann used the combination of piano and celeste or vibraphone, organ and harp to capture to capture the Thornfield estate’s mystery, austere grandeur and eerie gothic auras.

“Prelude” supports the roll of the opening credits, which display the film’s title on a book cover, and the credits with the turning of successive pages. Herrmann supports the sequence with a powerful exposition of the Love Theme born by strings passionato set over a horn ostinato, which imparts a pervasive sadness that perfectly sets the tone of the film. At 1:12 we flow into Jane’s Theme on solo oboe doloroso, joined by French horns full of sorrow, which supports narration by Jane (Joan Fontaine) who tells the sad story of her childhood at Gateshead Hall. At 1:46 the music sours as we enter the film proper and see her imprisoned in a closet. She is informed that her cruel aunt is sending her away to Lowood Institution, a charity boarding school for young girls run by the stern disciplinarian Reverend Brocklehurst. Herrmann supports the scene with Jane’s plaintive oboe adorned by harp and draped with dark and foreboding auras by low register woodwinds. “Jane’s Departure” reveals her departure from her cruel aunt’s household, which Herrmann again supports with plaintive French horns and Jane’s Theme joined by strings tenero. At 0:54 her theme darkens and is full of anger as she rebukes her aunt, closes the gate vowing never to return. At 1:19 Herrmann introduces his prancing Traveling Motif, which abounds with joie de vie and a kernel of hope as Jane speaks of her new life as she is carried by carriage to Lowood. Yet the music slowly darkens and we close on discordant portentous muted trumpets as she arrives at Lowood.

“Jane Alone” offers a score highlight full of pathos. Jane has been humiliated by the cruel Reverend Brocklehurst who orders all to avoid this liar, and sentences her to stand alone atop a stool for the day. Music enters later in the day upon a grieving strings and oboe doloroso, which reveals Jane’s suffering and loneliness. We bear witness to a soliloquy of sadness as she is befriended at 0:54 by kind fellow student Helen, who brings her bread. Helen soothes Jane and we hear her theme warm on violins in reciprocity. In “Dreaming” Jane and Helen are on the roof taking down clothes of the line. She expresses her hope to travel one day to lands far away and read books. Herrmann tenderly supports the scene with a hopeful rendering of her theme by string gentile and woodwinds. At 0:41 a fanfare of woodwinds announces the arrival of Dr. Rivers who has come for a routine medical assessment of the girls. As they race downstairs the Traveling Motif happily carries their progress. In “Vanity” the Reverend punishes Helen for the vanity of having curly hair, and Jane for rebelling against his cutting off Helen’s locks. They are forced to walk in endless circles in the cold rain as their punishment, which Herrmann supports with repeating phrases by forlorn woodwinds and strings of despair “Elegy” reveals Dr. Rivers returning with ointment for Helen, whom he brings in from the rain for therapy. He informs the Reverend that it is too late and that Helen will pass in the night. Jane sneaks into the room to comfort Helen, joining her under the blanket for warmth. Herrmann speaks to Jane’s love with a tender rendering of her theme, which transforms into an elegy. At 1:36 we segue into “Jane’s Sorrow” where we find her grieving at Helen’s gravesite. Jane’s Theme carried by oboe doloroso and anguished strings carry her heartbreak, yet the warm counsel of Dr. Rivers assuages her grief, and we close on strings of reconciliation.

“Time Passage” reveals a book with turning pages revealing Jane’s progress over the years. A repeating four note woodwind figure with contrapuntal horns carry the passage of time. We see Jane, now 18 years of age turn down the offer of a teaching assignment from the Reverend, who becomes angry and indignant. In “The Letter” discordant woodwinds sound when Jane discovers a letter, which offers her the job of governess at the Thornfield estate. She departs by carriage and martial horns and muted trumpets carry her progress. We close darkly with uncertainty as Jane arrives at the George Inn, where she is to rendezvous with a carriage, which will take her to Thornfield. In “Thornfield Hall” Jane travels at night to Thornfield. Herrmann supports the journey by transforming the Traveling Motif into a foreboding and much darker articulation. At 0:36 muted trumpets support her arrival at the estate. No one has ever written better for low woodwinds and created such foreboding sonorities than Herrmann, and he uses these skills to sow a misterioso of dark auras of unease with grim textural writing. Thornfield seems barren and cold as Mrs. Fairfield escorts Jane to her room. As she departs, Mrs. Fairfield informs Jane that Mr. Rochester is a peculiar man. We see in Jane’s eye’s trepidation and her theme descends with uncertainty into dissonance marked by muted trumpet calls. “Valse Bluette/Adele” reveals Jane being awakened in the morning by a music box melody, which supports Adele’s mechanical dancing puppets. The two of them bond when Jane tells her that she has never been waken more happily.

A montage of scenes of Adele dancing and taking lesson follows, and we see genuine affection between them. In “Rochester” we are offered a score highlight where Herrmann boldly introduces us to Edward’s Theme. Jane goes out for an evening stroll of the grounds. Portentous tolling bells, chimes and forlorn woodwinds sow unease and support her progress as she walks through the shifting ground fog. At 0:40 distant horns bellicoso rise and intensify upon the breeze, drawing ever closer, propelled by snare drums. A large dog burst past her and at 0:50 Edwards Theme resounds as he arrives, and his startled horse rears up and throws him to the ground. As they converse his theme loses its intensity but not its resolve. At 1:10 her theme enters on strings delicato as she introduces herself and informs him that she is Thornfield’s new governess. We see a nascent attraction to her in his eyes and interplay of their two themes unfold as they converse. At 1:44 his theme intensifies empowered by timpani as he mounts his horse imperiously commands her to hand him his whip. The music surges with power at 1:52 as he races away carried once again by a bold rendering of his theme. As Jane returns to Thornfield we close on a dark, low register diminuendo of uncertainty.

“The Piano” reveals Jane’s formal meeting with the master of Thornfield and offers a superb score highlight where Herrmann’s music fleshes out the powerful unspoken feelings of Edward for Jane. Edward is sardonic as he interrogates her and then dismisses her background and talents. A nascent Love Theme, which has yet to fully coalesce into a cogent melody is carried by low register strings. It emotes solely from his perspective and belies his brusque and imperious manners. He commands her to play the piano, which she hesitantly accommodates, and then mocks her performance. Herrmann supports her performance by bathing us with grim auras of pain born by strings affanato as we see her wounded by his harshness. We close as we began with an uncoalesced Love Theme, which speaks to Edward’s unspoken feelings. All that is unspoken by Edward is voiced in Herrmann’s music. The next day, Edward’s Theme resounds in “Promenade” as we see him walking the snow-covered grounds. As the camera shift back and forth between his walking and Jane working with Adele inside the narrative flow shifts to and from between their entwining themes. As he greets them his theme softens in a diminuendo as he asks Jane to join him in the study.

In “Rochester’s Past” Edward apologizes for his behavior and instead cultivates dialogue with Jane, lowering his guard and providing her insight into his past. supports more lyrical rendering of his theme supports the moment and is joined by her theme emoted At 0:38 a solo oboe tenero emotes a plaintive rendering of the Love Theme. Her theme joined on strings draped with the orchestral sensibilities and rhythms of his theme. This nuanced musical transformation of her theme informs us of her nascent yet unspoken attraction to him. She departs on pleasant terms with him stating he hopes she will find happiness at Thornfield. “The Fire” opens powerfully on discordant horns, which usher in a low register piano ostinato as Jane hears a woman scream and running footfalls. Herrmann unleashes orchestral mayhem as she discovers Edward’s bed aflame, wakes him, and aids him putting out the fire. At 0:47 he orders her to remain in the room as he sets out to find the perpetrator carried by his theme. At 1:15 Herrmann sow’s a flute born misterioso as she watches him through a window his ascent up one of the manor’s dark towers. At 2:29 he returns and realizes that he has not yet checked on Adele, they race off to her room carried by an anxious piccolo led accelerando. When they reach her and find her asleep and unharmed, Herrmann bathes us with tremulous angelic violins, which dissipate our fears.

“Duo” is revelatory as we see Edward disclose Adele’s origins, the daughter of a French dancer who stated she was Edward’s child, and then abandoned her to his care. The scene is scored from Jane’s perspective with a very moving soliloquy of her theme by oboe delicato, strings gentile and warm French horns. Her music overflows with tenderness and compassion as we see in her eyes the realization that she and Adele are kindred spirits who suffered being unloved in their childhood. Edward shakes her hand in thanks for saving his life, and we see in his eyes love’s awakening as he departs. Herrmann supports this at 1:13 with the Love Theme on strings countered by discordant muted trumpets. We end with a tender phrase of Jane’s Theme as she departs and a surging statement of Edward’s Theme. “The Door” Jane wakes to see Edward ride off carried by an aggressive rendering of his theme. A conversation with Mrs. Fairfield reveals that Edward told her he accidentally started the fire and was departing on another trip. As Jane departs a dark misterioso envelops her as she stops by the stairs Edward ascended the night before. The grim, very low register orchestral and piano rumbling of the Tower Motif carries her upwards to a large padded door, growing more menacing with every step. A stinger at 0:47 supports a woman’s scream and the emergence of Grace Poole who orders Jane to go and never return. Her departure is carried by a reprise of the menacing Tower Motif, which brought her here. “Springtime” reveals Jane filling the days during Edward’s absence with Adele. Spritely woodwinds emote the Travel Motif, which is alight with joie de vie and supports their carriage ride together. At 0:23 an energetic string ostinato set against a contrapuntal bubbling wood line supports their entry into Thornfield, which is abuzz with activity preparing for the Master’s return. We shift to the Traveling Motif at 0:41 when Mrs. Fairfield informs Jane that the Master told her to prepare for guests he would be bringing. At 1:01 quintessential English horn fare revelry resound and join with the Traveling Motif to support the arrival of Edward, his lady friend Blanche Ingram and many guests. Fairfield’s revelation that Blanche is a longtime acquaintance of Edwards is clearly seen in Janes eyes as deflating. We close proudly with a final round of fanfare by horns reale as Edward arrives and dismounts.

“Mr. Mason” offers a cue of great emotive power. Jane hears guests mocking governess’ and departs in anguish. Herrmann speaks to these using violins doloroso and kindred strings emoting her theme. Edward joins her, drops all pretenses, and allows himself to be exposed and vulnerable as he repeatedly asks Jane if she would stand with him even if everyone else rejected him. It is during this tender moment, when their eyes lock that Herrmann softly renders his Love Theme with profoundly moving effect. The moment is shattered at 1:18 by distressed horns with the arrival of Mr. Mason. Edward greets him inhospitably supported by a grim rendering of his theme with interplay of a plaintive Love Theme as Jane looks on. At 2:42 the music darkens into a grim misterioso as Edward takes Mason to the tower. At 2:56 the orchestra explodes into discordant mayhem as we hear screams and see two people in silhouette struggling in the window. We close darkly with the deep rumbling of the Tower Motif, which dissipates into nothingness. In “The Room” Edward calms the anxious guests by explaining the screams were due to a servant’s nightmares. As he kisses Blanche’s hand and bids her goodnight, Jane watches from her door, and retreats into her room in sadness carries by an aching rendering of her theme. Edward calls for her and asks her to join him as they ascend the stairs to the mysterious tower, supported by a fragment of the Love Theme. Herrmann sow’s a low register misterioso full of darkness punctuated by grim horns as they arrive at a door. Distressed horns at 1:13 carry their entry into a room where an injured Mr. Mason lays bleeding from a chest wound. Edward asks Jane to sponge and apply pressure to the wound, and to not open either door no matter what, as he leaves to obtain a surgeon. “Rattle” reveals that the back barred door begins rattling, pushed repeatedly from the other side. The menacing growls of the Tower Motif swell as we see Jane both curious and anxious. At 0:45 a distressed horn ostinato supports the arrival of Edward and the surgeon at Thornfield and later interplay with Jane’s Theme on plaintive strings. The music intensifies and dissipates with grim finality as they join Jane in the room.

In “The Garden” we have a wondrous confluence of music and film narrative. Edward takes Jane into his garden carried by masculine woodwinds emoting his theme. He again opens up alluding to the tragedy incurred during his youth and solicits Jane for an absolution for his life, to which she admits is not hers to give. As his soliloquy unfolds the music becomes aching, thirsting, and full of longing rising up from his very soul. At 1:41 we see Jane is moved as the last of his self-isolating walls come down, supported by the Love Theme on strings doloroso. As he bears his heart the Love Theme unfolds for one of the score’s most poignant moments. Yet the moment is lost at 3:10 with the arrival of Blanche, whom he greets and departs with carried by a plaintive variant of his theme. We close with an unresolved fragment of the Jane’s Theme as she once again is sad and confused by Edward’s conflicted behavior. “Farewell” offers a supremely romantic cue, a score highlight and one of the finest compositions in Herrmann’s canon. It reveals a sad Jane surrendering to the inevitable and informing Edward of her intention to seek employment elsewhere given his upcoming marriage to Blanche. Herrmann supports the pathos with an elegy for unrequited love. At 0:48 her theme by a solo violin affanato joined by contrapuntal flute aching with despair entwines with his sad theme born by yearning woodwinds and strings. As they shake hands, we see their true feeling in their eyes, unspoken yet affirmed with an aching coda of the Love Theme.

As Edward and Blanche walk in the garden, he finally states what has been known by both, yet never spoken; that he is a gruff, unattractive and insufferable man, which Blanche for the luxury of £8,000 a month is willing to endure. Fully exposed, she is outraged, insults him and angrily departs. “Jane’s Confession” offers another achingly romantic score highlight. It opens with English fanfare supporting Blanche’s family’s departure. Edward joins Jane in the garden and informs her that his affair with Blanche has been called off and that he has secured her a job in western Ireland. Strings affanato so full of yearning support Jane as she affirms that she wishes to stay with him and Adele at Thornfield. At 1:11 he asks her to make the most of what time is left them supported by Jane’s Theme so full of heartache. We flow seamlessly into “The Storm”, a score highlight, carried by a yearning rendering of his theme, which rises as he relates the bond, which he feels with her, and the wound he would incur should she leave. This elicits the breaking of the dam around her heart, which now burst forth overflowing with a passionate testament. At 1:15 she at last declares her love for him supported with a powerful and passionate exposition of the Love Theme. Her admission serves to break the dam around his heart and at 1:49 dire horns resound a storm with fierce winds rises, which Herrmann supports with an orchestral torrent. He declares that it is she he wants to marry and with growing urgency repeatedly asks that she consent supported by powerful statements of his theme. At 2:06 she consents, supported by a resounds statement of the Love Theme. As they embrace an orchestral torrent supports a lightning strike, which splinters a nearby chestnut tree. We close with commentary by Jane, which speaks of her happiness, supported by a tender reprise of the Love Theme.

“The Wedding” offers a cue of complete devastation for Jane. It reveals Edward’s elaborate preparations for the wedding, which Herrmann supports with a spritely piece, which abounds with happiness and joie de vie. At 0:26 horns nobile and bubbling woodwinds with glockenspiel adornment take us to the chapel. Grim discordance and tolling bells at 0:33 reveal Grace Poole looking out of a Thornfield tower window. At 0:41 Herrmann drapes the ceremony with religioso auras, yet there is a subtle dissonance in the notes. The ceremony is stopped when Mason’s attorney enters and declares an insurmountable impediment – that Edward is married to his client’s sister. Jane is devastated as Edward calls off the wedding and invites everyone back to Thornfield to meet his wife. In “The Wife” as Edward burst open the chapel doors powerful horns irato resound with a dire iteration of his theme. The anger is sustained in a scene change to Thornfield with horns of doom and massive timpani rolls as he unbars the door and enters the secret room, only to be attacked by the raving and crazed violence of madness, which is his wife. All present are horrified, yet the priest cannot provide a remedy and departs. We close grimly on a diminuendo of pain as Jane departs and Edward again seals the door.

In “Jane’s Farewell” we have a supreme score highlight as we bear witness to another cue of devastation, this time for Edward. We open sadly with a forlorn statement of the Love Theme, which carries Jane’s departure from Thornfield. Edwards calls to her and they converse at the bottom of the grand staircase. Herrmann supports the pathos of the bitter meeting from Jane’s perspective, emoting her theme as a grieving marcia funebre. At 0:56 elegiac horns sound his theme as he relates how his unchaste wife’s excesses drove her to madness, and that he was a good man, who did everything he could. The pain of his recollection is supported with a transfer of the melodic line to strings affanato for the score’s most heart wrenching iteration of the Love Theme. At 1:57 Jane’s Theme on solo oboe tenero attended by aching strings enter as he confesses how he loved her from the first moment when she startled his horse. The transfer of the melody to cello, and then back to oboe and tremulous strings brings an intensification of the heartache, and pathos of his desperation and her agony as she confesses, that she does love him but cannot stay. The orchestra cries out in pain at 3:48 as she departs, leaving him once again alone in misery. We close grimly with Jane relating her plight of unemployment, hunger and sleeping on the streets, which leads her back to where she swore, she would never return – Gateshead Hall. Horns inglorious sound at 4:12 as she enters the estate’s gate, and carries her progress to the entrance where she meets her friend, Bessie. Jane reconciles with her aunt who has had a stroke after her son committed suicide, and agrees to remain. This scene was not scored by Herrmann, and I believe it would have been more poignant had he done so.

“The Letter Burns” reveals Dr. Rivers delivering a letter from Edward, who is inquiring about her. She refuses to accept the letter and so, he places it in the stove fire and burns it. We see the agony of the past reborn in her eyes, which Herrmann supports with an aching Love Theme born of strings affanato. “Jane’s Return” reveals that Jane’s aunt has died and her estate is being auctioned off. It is night and we see her penning a letter of desperation to the Reverend Brocklehurst seeking employment. A storm rises born by powerful horrific statements of the Love Theme, which forces open a window. As she goes to close it, she hears Edward’s desperate pleading calls to her upon the wind supported by orchestral fury. A diminuendo supports her narration informing us that she will return to him in his hour of need. Jane returns to Thornfield to find it in ruin from a massive fire. At 1:09 shifting tremulous ethereal strings support her return to the burnt out remains of Thornfield, and Mrs. Fairfield’s sad tale of how Edward’s mad wife killed Grace, burned down the estate and then jumped to her death rather than be rescued by Edward. She relates that Edward lost his sight when the grand staircase collapsed on him. We conclude with “Finale” where we see Edward’s arrival in the courtyard carried by a grim rendering of the Love Theme. He orders Fairfield to feed Adele supper and she departs. Edward senses a presence and demands whoever is there to declare themselves. At 0:52 Jane greets and comes to him carried by a warm statement of her theme, which blossoms as he caresses her face, yet it is severed with anger at 1:26 by the Love Theme when he declares he does not want her pity! Yet as she declares her love for him and desire to stay his theme’s rage dissipates, replaced by his theme, which explodes with passion at 1:56 as he grabs and passionately kisses her. We close with a soft iteration of the Jane’s Theme as her narration informs us that Edward regained his eyesight, and that they had a son who inherited his black eyes. The film concludes with a final statement of the Love Theme, which closes with a grand flourish.

I wrestled with my decision as to which album to use for my review. The choices were the Varese Sarabande restoration of the original score from its monaural source conducted by Bernard Herrmann, or the Marco Polo re-recording conducted by Adriano. In the end, I chose the remastered original recording with the Maestro conducting as I believe his recording best captured the film’s tones and narrative. I commend Robert Townson and the late Nick Redman for producing the astounding 14 CD box set collection, “Bernard Herrmann at 20th Century Fox,” of which this score is part. I believe that the restoration and remastering of Jane Eyre was simply exceptional. While it does not achieve current industry state of the art quality given its monaural sources, the mastering by Daniel Hersch achieves a sound quality that is excellent, one which provides a wonderful listening experience. This was Herrmann’s inaugural effort at 20th Century Fox, and its success landed him a contract with the studio, which would result in a fruitful collaboration of eighteen scores over twenty years.

Herrmann intuitively understood that Jane and Edward were kindred in that they were both lost souls who had suffered terribly in life, unable to realize happiness. He understood that he would have to speak to the story’s mystery, tragedy, devastation and dark gothic auras. Herrmann conceived three primary themes to support Stevenson’s vision, with all of them kindred and interconnected in that they emanated from the key of F. His themes for Jane and Edward fleshed out their overt personas, as well as their inner conflicts and unspoken feelings. In scene after scene Herrmann’s music expresses their emotions as persuasively as the actors themselves, realizing a powerful synergy not often achieved in the cinematic experience. Instructive is how his love theme evolves during the film from a nascent uncoalesced construct to a fervent exposition when we see Jane’s and Edward’s walls of isolation come crashing down, offering a testament to Herrmann’s genius. Lastly, Herrmann enhanced the film’s setting by providing the requisite Gothic auras, achieving a perfect confluence with George Barnes’ cinematography. Jane Eyre is a gem from Herrmann’s early canon, a masterpiece of the Golden Age and I believe an essential score for lovers of the art form.

(Editor’s note: the version of Jane Eyre in the ‘Herrmann at Fox’ box set is identical to the one released in 2016 as a standalone album on the Kritzerland label by producer Bruce Kimmel, and this score is still available for purchase.)

For those of you unfamiliar with the score, I have embedded a YouTube link to a suite created and conducted by Bernard Herrmann and the London Philharmonic Orchestra: https://www.youtube.com/watch?v=wCYsryIIog0

Buy the Jane Eyre soundtrack from the Movie Music UK Store

Track Listing:

• Prelude (2:39)
• Jane’s Departure (2:56)
• Jane Alone (1:48)
• Dreaming (1:03)
• Vanity (1:06)
• Elegy / Jane’s Sorrow (2:27)
• Time Passage (0:35)
• The Letter (1:00)
• Thornfield Hall (3:06)
• Valse Bluette/Adele (1:11)
• Rochester (2:39)
• The Piano (2:13)
• Promenade (1:25)
• Rochester’s Past (2:05)
• The Fire (2:56)
• Duo (1:48)
• The Door (1:13)
• Springtime (1:57)
• Mr. Mason (3:34)
• The Room (1:31)
• The Rattle (1:24)
• The Garden (3:44)
• Farewell (1:55)
• Jane’s Confession (2:03)
• The Storm (2:31)
• The Wedding (1:27)
• The Life (0:52)
• Jane’s Farewell (4:34)
• The Letter Burns (0:24)
• Jane’s Return (2:42)
• Finale (2:39)
• Prelude (Alternate) (2:50) – Bonus

Running Time: 67 minutes 09 seconds

Varese Sarabande CD Club VCL-1211-1128 (1943/2011)
Kritzerland KR20030-9 (1943/2016)

Music composed and conducted by Bernard Herrmann. Original orchestrations by Bernard Herrmann. Score produced by Bernard Herrmann. Varese album produced by Robert Townson and Nick Redman. Kritzerland album produced by Bruce Kimmel.