Long, long ago, one of my mother’s favorite stories was turned into a film (again): LITTLE WOMEN. She and my father decided to do a family movie outing, where he, my uncle, and my brother would attend one film, and my mother, aunt, and I would attend another.
I never did get to see Highlander III, so I don’t know whether or not I came out ahead. (Yes, I’ve been told I have, many times over.) No matter what I thought of the Little Women story or film, one element stuck with me, hard: the music.
Newman’s theme to Little Women still surprises me with its versatility. The opening sequence shines brightly through the brass and strings. Splendor, light, joy–all this comes through in “Orchard House.”
The theme depicts a strength you can’t help but associate with Jo and her sisters. They’re a source of life for the brooding and sick surrounding them.
But then they grow up, part ways. It takes a death to bring them back together.
Now Newman could have written a special sorrowful theme. He could have devised something simple for the period, with, say, a violin or a flute. Lord knows I was familiar enough with the lone violin playing “Shenandoah’s Theme” every time an important person died in Ken Burns’ documentary THE CIVIL WAR. But Newman didn’t. He used his life-light theme again, but not with an orchestra. This time, the theme comes to us on piano in “Valley of the Shadow.”
A piano still has the feel of the period. It was the beloved instrument of the character who died. The theme comes to us in chords, without fluid arpeggios or connections: the notes move together, as these sisters must now move forward together.
I cannot think of another score where the main theme moves from triumph to mourning with a mere change of instrument.
Stories, at least the good ones, do not follow the easy journeys. They take the mountain trails, pass through all those shadowed valleys. Face the monsters all around.
Only then can a light of triumph shine upon that final page.
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