MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Walt Disney and his beloved studio had not achieved a commercial triumph since “Snow White and the Seven Dwarfs thirteen years earlier. He was $4 million in debt and tittering on bankruptcy. He threw caution to the wind with a gamble that would either save the company, or end it; he would adapt the story “Cinderella”, a universal transcultural tale told by many throughout time beginning with Strabo in 7 B.C.E. Disney selected the French version of the tale by author Charles Perrault, and personally took charge of production with a $2.2 million budget, which ultimately swelled to $3.0 million. A team of eight animators was assembled, ten writers overseen by Ben Sharpsteen would write the screenplay, and the trio of Clyde Geronimi, Hamilton Luske and Wilfred Jackson would direct. The voice cast would consist of Ilene Woods as Cinderella, Eleanor Audley as Lady Tremaine, Verna Felton as the Fairy Godmother, and William Edward Phipps as Prince Charming.

Cinderella who is a young girl loses her mother, only to see her lonely widowed father marry the widower Lady Tremaine, a mother of two daughters. Sadly, her father soon dies and Lady Tremaine demotes Cinderella to the status of a scullion in her own house. Cinderella suffers cruelty and indignity at Lady Tremaine and her insufferable daughters. The King, who is impatient for a grandson, command a ball be held and invites of the noble single ladies of the realm to attend so the prince may at last choose a wife. Cinderella is forbidden to go to the ball, yet intervention by her fairy godmother transforms her into a beautifully dressed young woman, who goes to the ball when her animal friends and pumpkin are transformed into a coach. She gains the prince’s affection, but is forced to flee by midnight, the time her transformation ends. She leaves a glass slipper, which the prince uses to finally track her down, and propose, which she accepts bringing the story to a most happy ending. The film was a massive commercial success, earning huge profits in America and worldwide, which ensured Disney Studio’s financial viability for decades to come. Critics praised the film as a masterpiece, and perhaps Walt Disney’s best. The film earned three Academy Award nominations for Best Music, Original Song, Best Music, Scoring a Musical Picture and Best Sound Recording.

Walt Disney entrusted the score to Paul J. Smith and Oliver Wallace. Initially Larry Morey was brought in to compose the songs, but Disney was not satisfied and turned to the Tin Pan Alley team of Mack David, Jerry Livingston and Al Hofman. Six songs would make the final cut and be woven into the film’s musical tapestry. Disney had long been insistent in demanding high-quality music for his films;

“Music has always had a prominent part in all our products, from the early cartoon days. So much so, in fact, that I cannot think of the pictorial story without thinking about the complimentary music, which will fulfill it”. Music is undoubtedly the most important addition that will be made to a picture. It can do more to bring production to life, to give it integrity, style, meaning, and unity than any other single ingredient.

The Tin Pan Alley song writing team understood Disney’s philosophy for songs used in his film, which inspired them to write “A dream is a wish your heart makes”. This perfectly conceived aspirational song of love permeates the film and offers the lynchpin for the film’s musical narrative. This understanding also guided them in writing the title song for “Cinderella”. Throughout the film, the composer team utilized the song melodies to masterfully unify their soundscape and animate several scenes. Lastly, as with all Disney cartoons of the era, there is a fair share of ‘Mickey-mousing’ scoring throughout the film, which supported the usual buffoonery and comedic slapstick antics.

Cue titles coded (*) offer music, which does not appear on the album. For (*) “Studio Logo”, the timeless and iconic “When You Wish Upon A Star” melody from “Pinocchio (1940) by Leigh Harline and Ned Washington supports the display of the Walt Disney studio logo. We flow grandly into “Main Title/Cinderella”, which supports the roll of the opening credits supported by the Disney mixed chorus singing the heartfelt title song “Cinderella”. The song provides a score highlight with a melody that offers an idyllic, tender, and sugary sweet romanticism, which captures the emotional core of the film, and instantly bonds the audience to our heroine. At 1:27 we segue into “Prologue”, a beautiful score highlight, as we see a golden covered book titled “Cinderella’ open, with narration beginning with “Once upon a time in a faraway land…”, which is supported by an idyllic orchestral rendering of the “Cinderella” song. At 2:26 the music darkens as we are informed that Cinderella’s father has died, and the true nature of her stepmother Tremaine has been revealed. Cinderella is subordinated to her step sisters, and eventually forced to become the house servant. Yet at 3:00 the musical narrative warms atop strings nobile as Cinderella’s virtues are extoled. At 3:08 fluttering woodwinds and tremolo strings support birds opening up her bedroom curtains to bring in the morning sun. A pastorale unfolds as the birds gently awaken Cinderella, becoming playful at 3:49 atop woodwinds animato as she finally awakens and relates to them that she had a wonderful dream.

The music assumes an idyllic romanticism with woodwinds tenero and harp adornment, which informs us that she has dreamt of a lover. We flow seamlessly at 1:29 into another score highlight, the aspirational love song “A Dream Is a Wish Your Heart Makes”, which is sung by Ilene Woods. At 2:30 clock chimes shatter the moment as Cinderella prepares to begin another day of toil. Yet she refuses to give up her dreams, and resumes the song at 2:56. At 3:06 we flow into the song rendered as a danza felice as we see birds making her bed while mice prepare her bath. Cinderella, with mouse chorus offer a wordless expression of the song for one of the score’s most tender moments. We conclude with her singing the last refrain: “No matter how your heart is grieving/If you keep on believing/The dream that you wish will come true”.

In “A Visitor/Caught in a Trap” the mice inform Cinderella that there is a mouse visitor caught in a trap. She runs and descends the stairs carried by pizzicato strings and woodwinds energico until 0:17 when the music becomes sad as she finds a mouse caught in a cage trap. Yet a playful and childlike musical narrative resume as a thankful “Gus” is freed and joins the group. At 1:47 we segue ominously into “Lucifer” as Cinderella wakes up the sinister house cat. (*) “Feed the Chickens” reveals Lucifer hunting Gus while Cinderella is out feeding the chickens. A hilarious cat-mouse sequence is scored playfully, with sinister overtones for Lucifer as Gus miraculously, and repeatedly manages to illude Lucifer. In (*) “Breakfast Is Served” the insufferable and imperious step mother and her daughters from Hell demand immediate service, with Cinderella keeping her poise preparing each of their trays. An energetic and playful musical narrative unfolds with comedic interludes as the hapless Lucifer repeatedly is outwitted by Gus who steals away under a tea cup on one of the trays. An ascent motif propels Lucifer up the stairs as he pursues Gus supported by dire four note phrasing. He is seeking an opportunity to strike and secure Gus at all costs. Stingers of frustration punctuate the musical narrative as time and time again Lucifer is thwarted. Frantic strings surge as Drizella screams when she discovers Gus. He escapes carried by flight music only to be caught in Lucifer’s paws. Cinderella orders his release and scurrying string carry his escape to a hole in the wall. “Time On Our Hands” reveals Cinderella being summoned into her stepmother’s bedroom, which is supported by menacing strings sinistri. She assigns a massive list of punishment chores, with each task receiving a comedic musical comment as Lucifer gleefully savors his revenge, until the last task groans with dissonance – she must bathe Lucifer.

“The King’s Plan” reveals a view of the palace castle, which Smith supports with a grand and stately musical narrative, replete with trumpets reale. Once inside, the grandness subsides and shifts to strings doloroso with comedic woodwind accents as the King frets that his son has yet to marry. At 0:45 a cello triste emotes the King’s aching desire for grand children before he passes. Yet the musical mood shifts once again to one of mischievous playfulness as the King schemes to his brother, the grand duke, that he will arrange the right circumstances for his son to meet a future wife. And so, the King orders a grand ball to be held tonight for the prince’s return, one where all the finest maidens of the kingdom will attend. We close atop strings romantico, crowned with stately horn reale fanfare as the grand duke acquiesces to the king’s command. “The Music Lesson/Oh, Sing Sweet Nightingale” reveals the stepmother playing piano as Drizella sings and Anastasia plays the flute. The singing and flute playing are ear piercing, off key, and dissonant. Lucifer cannot stand it and sneaks out of the room to discover Cinderella singing the tender, romantic song beautifully.

At 1:34 we segue atop mischievous strings into “Bad Boy Lucifer” as he has deliberately soiled her clean floor with dirty paw prints. As she chases him with a broom, prancing playful woodwinds carry Lucifer’s flight. A knock on the door, stops her and muted fanfare reale (not on the album) supports a courier delivering an invitation from the king. At 1:47 we segue into “A Message from His Majesty” with a reprise of the horrific Drizella vocals and Anastasia flute playing as Cinderella delivers the invitation to her stepmother. (*) “I Said If” reveals stepmother reading the invitation, and Cinderella asserting her right to go, supported by aspirational strings, which become sardonic as the girls mock her. Stepmother agrees, but stipulates only if she completes all her chores and finds a suitable dress. She and her daughters then saddle Cinderella with so many tasks that it prevents her from making her dress.

“Little Dressmakers” opens with repeating fanfare imperiosa as the step sisters scream for Cinderella to come to them. At 0:10 we segue into the cute and happy go lucky “The Work Song”, a song highlight sung by an animated mouse chorus as Cinderella’s little companions decry how she is treated by her stepmother and step sisters. A musical interlude of sadness and dejection follows until 1:05 when the female mice decide that they can help make her dress and begin happily singing. At 1:47 we segue into “Scavenger Hunt” carried by strings energico propelling the song melody as Gus and Jaq scurry through the palace on a scavenger hunt. At 2:02 the music slows as we see the mice peering at the cruel stepmother and her daughters tossing all their clothes at Cinderella while barking orders. At 2:15 spritely strings propel the mice to take pink ribbon and blue pearls that the stepsisters have cast off. At 2:23 ominous woodwinds support them seeing the sleeping Lucifer. As they make their dash for the hole in the wall animated strings energico propel them with a rising tension as Lucifer awakes and begins his pursuit, ending in musical buffoonery as they barely escape and Lucifer crashes into the wall. The mice open a new porthole and try to get the blue pearls with an extended, silly, musical cat and mouse passage ensuing, with some amazing “mickey mousing” effects. At 3:54 we segue into the female sung mouse song “A Dream Is a Wish Your Heart Makes”.This tender and aspirational heartfelt song of love supports the mice slowly transforming Cinderella’s mother’s matronly dree into a more youthful gown. The dressmaking activities of the mice continues, supported by an orchestral rendering of the song’s melody.

“The Palace at Evening” reveals the palace clock tower display 8 pm, followed by a resplendent view of the palace where we see carriages bringing people to attend the ball. A processionale maestoso replete with horns reale support the imagery. At 0:18 subtle disquieting music supports the arrival of a carriage at Cinderella’s manor. The music grows sad as Cinderella alerts her stepmother of the carriage, and that she will not be going. She returns to her room and sulks until 0:55 when we segue into “A Dress for the Ball” as shimmering ascending strings replete with harp glissandi reveal the mice pulling open her wardrobe to reveal the beautiful pink gown. Strings felice express her joy as she holds the gown. At 1:17 horns imperiosa support the procession of the stepmother and her two daughters to the carriage. At 1:24 refulgent strings usher in the “Work Song” melody, which support Cinderella calling out for them to wait as she will be joining after all. The music sours as the stepsisters voices their objections. At 2:04 a descent motif unleashes an angry dissonant musical narrative as the stepsisters recognize their jewelry and sashes and begin tearing them off until her dress is destroyed. The violence dissipates and is replaced by devastation as a speechless Cinderella watches the giddy stepsisters and smug stepmother depart, and then wish her good night. (*) “Escape to the Garden” reveals an inconsolable Cinderella’s run to the garden carried by tearful strings of flight. Angelic women’s choir reprise the song “A Dream Is a Wish Your Heart Makes” as Cinderella weeps, her spirit finally broken. Slowly the music brightens as her fairy godmother appears and consoles her.

“Where Did I Put That Thing” reveals the fairy godmother searching for her wand supported by dancing woodwinds felice with strings and harp adornment. A silly, albeit playful musical narrative follows as she tries to remember her spells until 0:40 when we flow into ‘The Magic Song’ “Bibbidi-Bobbidi-Boo”, a playful, happy-go-lucky song with nonsense lyrics (Sala-gadoola-menchicka-boo-la Bibbidi-bobbidi-boo, Put ’em together and what have you got? Bibbidi-bobbidi-boo!) sung by Verna Felton and chorus. It supports her transforming a pumpkin into a carriage, followed by the four male mice being transformed into regal stallions. Orchestral quotes of the song with choral accents support the transformation of the horse into a coachman, and the dog Bruno into his assistant. A gentile interlude of the song melody supports the fairy godmother deciding on what gown to provide Cinderella. At 3:29 magical harp glissandi and refulgent strings support her spell, which transforms Cinderella into a beautiful silver-white dress. Wordless mixed chorus sings a reprise of “A Dream Is a Wish Your Heart Makes” song, as Cinderella is advised that the spell ends at the stroke of midnight. She hurries Cinderella into the carriage and we close with a reprise of the last stanza of “Bibbidi-Bobbidi-Boo”. The song melody then energetically propels the carriage across the countryside to the palace.

“Reception at the Palace” reveals the palace alight supported by fanfare reale. Inside, a processionale maestoso supports each maiden being formally presented to Prince Charming as the frustrated King and his brother observe. We switch to the palace entrance as Cinderella arrives and begins her long walk to the ballroom. At 1:52 faux fanfare reale support the clumsy approach of the ugly Tremaine stepsisters by plodding woodwinds, with the prince and king both trying to maintain their composure. At 2:05 the melody of the song “A Dream Is a Wish Your Heart Makes” supports the prince seeing Cinderella, becoming captivated by her beauty, and going to her. He takes her hand and escorts her to the dance floor. Comic playful woodwinds support the king directing his minister’s eyes to the happy couple. We flow at 2:43 into a valzer romantico as the prince and Cinderella dance front and center. At 4:15 we transition to the molto romantico song “So This Is Love” sung by Ilene Woods and Mike Douglas. They dance onto the terrace and finally the garden, completing the song on a bridge with the full moon alight above them. The rapturous moment is lost with “The Stroke of Midnight” as the clock tower begins it midnight tolling, which causes Cinderella to panic and flee the incredulous prince who begs her to stay. Wallace unleashes a tempest of desperate flight music, which carries Cinderella, who loses a glass slipper, to her carriage, and then propels her frantic drive home. At 1:00 a bell toll initiates the reverse transformation, with the music cascading downwards as the carriage turns back into a pumpkin, the horses into mice, and the coach men back to a horse and dog. At 1:10 violent horns support their scramble off the road as the pursuing king’s guard gallop by furiously. At 1:22 we segue atop wordless women’s chorus into “Thank You Fairy Godmother” as an ethereal, yet sad reprise of “The Magic Song” unfolds. Cinderella relates being love struck by the prince and then thanks her fairy godmother as she holds the remaining glass slipper.

(*) “Barer of Bad News” reveals the grand duke fretting over bringing the bad news regarding the lost maiden to the king. Inside the king dreams and we see two grandkids riding atop his back supported by playful spritely strings and bubbling woodwinds of delight. The dream is lost and he wakes up from the minister’s knocking on the door. The music transforms into silly comedy as the king demands news of the wedding. When the grand duke finally informs him that the maiden fled, we descend into musical slapstick buffoonery as the angry king flails wildly in anger with his sword. When he is advised of the glass slipper, the tempest calms and he issues a royal proclamation that every maiden in the kingdom be fitted for the slipper. We end with a musical thud as the two fall with the chandelier onto the bed. “Locked in the Tower” reveals the official public posting of the royal proclamation supported by dramatic fanfare reale. At 0:11 we segue into “Gus and Jaq to the Rescue” as the two mice come to Cinderella’s aid after stepmother orders breakfast service immediately. Tremolo strings and woodwinds comici support a silly musical narrative as the mice observe stepmother waking her daughters and giving them the news of the glass slipper fitting. At 0:41 a crescendo builds as the daughters realize they have a chance to become the prince’s wife, the music franticly surging as the sisters scramble to locate their finest dresses, then tossing them at Cinderella for cleaning. Yet she gives them back and 1:08 we flow into the melody from “A Dream Is a Wish Your Heart Makes” as Cinderella waltzes to her room. Yet the music darkens, becoming sinister as stepmother follows her up the stairs as the scurrying mouse motif propels their run up through the wall. As Cinderella sings “A Dream Is a Wish Your Heart Makes” an ominous counterpoint unfolds as she turns, sees stepmother with a key lock her in the room as she cries out with devastation.

At 2:10 we segue into “Slipper Fittings” heraldic horns declare the arrival of the grand duke, who is greeted by stepmother Tremaine. At 2:18 the “Work Song” melody joins as Gus and Jaq plot to liberate Cinderella. The horn declaration reprises as the grand duke enters carried by a processinale maestoso, yet the music sours at 2:51 with dissonant sardonic horns as the ugly stepdaughters are introduced, causing him to cringe. Silliness follows as the two sisters scramble for the slipper, only to be admonished by their mother. At 3:15 a stealthy mouse motif supports Gus and Jaq’s effort to seal the key from the stepmother’s pocket, while she is distracted by the reading of the royal proclamation. Strings and woodwinds animato propel the comedic efforts of the mice to lift the key out of her pocket. They finally succeed and then a series of ascending string ostinati and the “Work Song” melody support their efforts to lift the key upwards step by step. As they at last reach the door the “A Dream Is a Wish Your Heart Makes” melody offers hope. Then Lucifer attacks and traps Jaq and the key under a tea cup, which initiates a series of coordinated mouse attacks propelled by the “Work Song Motif” as they try to free him. Cinderella sends her birds to fetch Bruno, who comes to her rescue propelled by the Mouse Motif. His heroic arrival at 5:01 is declared by horns bravura as a frightened Lucifer flees and falls out the window to his doom carried by a frantic descent motif. A celebratory Work Song Motif supports the freeing of Cinderella.

Both sisters’ big feet failed to fit the slipper, and when the grand duke is advised that no other maidens reside in the manor, he departs. Yet at 5:42 we segue into “Cinderella’s Slipper” atop horns nobile and the “A Dream Is a Wish Your Heart Makes” melody borne by sumptuous strings romantico as Cinderella calls out to him to remain, over her stepmother’s futile objections. Horns nobile sound at 5:50 as the grand duke escorts her to a chair. Racing strings energico support the run of the glass slipper barer, who is deliberately tripped by stepmother, which results in the slipper falling and shattering on the floor at 5:56. Sad strings of despair support the grand duke’s anguish as the gloating stepmother looks on. Yet at 6:18 strings of hope surge as Cinderella offers him the other glass slipper. He places it on her foot for a perfect fit and we conclude on a resplendent chord of joy. At 6:31 we segue atop celebratory church bells into “Finale” where we see newlywed Prince Charming and Princess Cinderella descending stairs to their honeymoon carriage, supported by a celebratory paean of joy joined by a choral refrain of “A Dream Is a Wish Your Heart Makes”, which conclude our film happily ever after.

I would like to thank Randy Thorton and Walt Disney studio for the restoration and remastering of Paul J. Smith and Oliver Wallace’s wonderful score for Cinderella. Some audio imperfections are found on the album, however on balance a good listening experience is provided. As with all musicals, the score composers are tasked with creating a unifying musical tapestry, that provided bridges between the various songs. By employing a number of the song melodies as leitmotifs, they created an integrated and seamless soundscape in which song and score achieve a perfect confluence. As with all Disney animated films, the capture of a child’s heart and sense of wonderment is at the core of each film’s narrative. The composer team as such needed to speak to this and emote qualities of playfulness, fun, comedy and buffoonery, especially with the non-human characters. In my judgment their Mouse and Work Song Motifs magically brought these little, and adorable mice to life, endearing them to all. I believe the reason Cinderella excels is largely due to the masterful support of the song and score musical narrative, which propelled its storytelling, brought out its aspirational and heartfelt emotions, and celebrated its fun and sense of wonderment. I am very appreciative of the Disney Legacy Collection, which celebrates the studio’s wonderful animated film scores. I highly recommend this wonderful this two-disc album, which includes “The Lost Chords” as well as excellent liner notes, as essential for all lovers of the art form.

For those of you unfamiliar with the score, I have embedded a YouTube link to the Main Title and Title Song; https://www.youtube.com/watch?v=KfU3pPD7YaQ&list=PLh3-icSKvfhn1Pi4Oig5hPxkyQx_7kTaT

Buy the Cinderella soundtrack from the Movie Music UK Store

Track Listing:

• ORIGINAL RELEASE
• Main Title/Cinderella (Chorus) (2:51)
• A Dream Is a Wish Your Heart Makes (Ilene Woods with Mice Chorus) (4:34)
• A Visitor/Caught in a Trap/Lucifer/Feed the Chickens/Breakfast Is Served/Time On Our Hands (2:10)
• The King’s Plan (1:21)
• The Music Lesson/Oh, Sing Sweet Nightingale/Bad Boy Lucifer/A Message from His Majesty (Ilene Woods with Rhoda Williams) (2:06)
• Little Dressmakers/The Work Song/Scavenger Hunt/A Dream Is a Wish Your Heart Makes/The Dress/My Beads/Escape to the Garden (Mice Chorus) (9:24)
• Where Did I Put That Thing/Bibbidi-Bobbidi-Boo (The Magic Song) (Verna Felton) (4:47)
• Reception at the Palace/So This Is Love (Ilene Woods & Mike Douglas) (5:44)
• The Stroke of Midnight/Thank You Fairy Godmother (2:05)
• Locked in the Tower/Gus and Jaq to the Rescue/Slipper Fittings/Cinderella’s Slipper/Finale (7:36)

• 2015 LEGACY COLLECTION
• Main Title/Cinderella (Chorus) (2:51)
• A Dream Is a Wish Your Heart Makes (Ilene Woods with Mice Chorus) (4:34)
• A Visitor/Caught in a Trap/Lucifer/Feed the Chickens/Breakfast Is Served/Time On Our Hands (2:10)
• The King’s Plan (1:21)
• The Music Lesson/Oh, Sing Sweet Nightingale/Bad Boy Lucifer/A Message from His Majesty (Ilene Woods with Rhoda Williams) (2:06)
• Little Dressmakers/The Work Song/Scavenger Hunt/A Dream Is a Wish Your Heart Makes/The Dress/My Beads/Escape to the Garden (Mice Chorus) (9:24)
• Where Did I Put That Thing/Bibbidi-Bobbidi-Boo (The Magic Song) (Verna Felton) (4:47)
• Reception at the Palace/So This Is Love (Ilene Woods & Mike Douglas) (5:44)
• The Stroke of Midnight/Thank You Fairy Godmother (2:05)
• Locked in the Tower/Gus and Jaq to the Rescue/Slipper Fittings/Cinderella’s Slipper/Finale (7:36)
• I’m in the Middle of a Muddle [Demo] (1:53) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• I’m in the Middle of a Muddle (Kate Higgins) (1:54) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• I Lost My Heart at the Ball [Demo] (2:00) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• I Lost My Heart at the Ball (Jennifer Paz) (2:18) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• The Mouse Song [Demo] (1:37) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• The Mouse Song (Jeff Gunn & Rob Paulsen) (1:38) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• Sing a Little, Dream a Little [Demo] (2:47) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• Sing a Little, Dream a Little (Juliana Hansen) (2:54) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• Dancing on a Cloud [Demo] (3:45) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• Dancing on a Cloud (Kate Higgins & Jeff Gunn) (4:10) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• The Dress That My Mother Wore [Demo] (2:35) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• The Dress That My Mother Wore (Juliana Hansen) (2:52) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• The Face That I See in the Night [Demo] (2:32) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• The Face That I See in the Night (Jeff Gunn & Jennifer Paz) (2:54) – The Lost Chords of Cinderella written by Charles Wolcott and Larry Morey
• Cinderella: Prologue (Chorus) (4:40) BONUS
• Cat and Mice/The King’s Plans (3:50) BONUS
• Entanglements/Dress Building (5:04) BONUS
• The Palace at Evening/A Dress for the Ball (2:56) BONUS
• Royal Fanfare and Reception at the Palace (2:44) BONUS
• So This Is Love: Waltz (1:58) BONUS
• Midnight Chase (1:36) BONUS
• A Perfect Fit (1:30) BONUS
• Cinderella: Finale (Chorus) (1:04) BONUS

Running Time: 44 minutes 40 seconds – Original
Running Time: 104 minutes 00 seconds – Legacy Collection

Walt Disney Records 60879-7 (1950/1997) — Original
Walt Disney Records D002066092 (1950/2012) — Legacy Collection

Music composed by Oliver Wallace and Paul J. Smith. Conducted by Paul J. Smith. Original songs written by Mack Davis, Jerry Livingston, and Al Hoffman. Orchestrations by Frank Comstock, Joseph Dubin, and Edward H. Plumb. Recorded and mixed by XXXX. Edited by Al Teeter. Score produced by Oliver Wallace and Paul J. Smith. Legacy Collection album produced by Randy Thornton.