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austencello · 2 years

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The Sound of Bridgerton and the musical journey of Kate and Anthony

Welcome back to all those reading! It’s been over two years since I wrote any Music Notes analyses and reviews here on the jungle of Tumblr. While I have started a Soundtrack podcast (World of Soundtracks) and taught a few classes and lectures on soundtracks, particularly for Jane Austen adaptations, it is fun to come back to where it all started.

This will primarily focus on what makes the musical world of Bridgerton unique as well as taking us through all 8 episodes of Kathony’s journey. They have a fantastic theme which is used beautifully throughout and I was already geeking out about it before I received a request to write about it.

The initial sound is similar to other Regency dramas: strings, piano, harp, with a few wind instruments such as the clarinet and oboe. Yet, the primary focus is the string ensemble in a way that is unusual from the other drams set in that time period. It sits front and center, telling the story instead of being backdrop to the piano or other instruments. Kris Becker and his orchestration team really know how to use strings in all their facilities, harkening to great string pieces such as Grieg’s Holberg Suite, Edward Elgar’s Serenade for Strings, and especially Samuel Coleridge-Taylor’s 4 Noveletten for Strings and Percussion. They can make the music playful, dramatic, romantic, and know how to use the range of all the instruments.

In many ways, the sound was created out of necessity. Since the first season was recorded during lockdown, they had 8-9 players record numerous parts. Many props not only to the musicians but to the music editors who made it sound like a full string orchestra instead of going the chamber music route. In a similar way to Coleridge-Taylor’s piece with strings and percussion which my orchestra recorded during lockdown, using mostly strings and percussion gives the drama an unique sound. The other unique aspect of course is the choice to use both string arrangements of pop songs or to start to emulate that style in the second series. Using the talented Vitamin String Quartet (and other groups in the second season) who have already been arranging pop and rock covers for over a decade or two was a way to set it apart from other period dramas musically and connect to the audience who would know the songs being covered and what the words are saying for that moment.

While the sound is a bit fuller in the second season, it remains focused on the string ensemble orchestra with percussion as well as using even more tunes either arranged or written in the style of pop music. Lady Whistledown’s theme ”The Latest Whistledown” and “Sharpening My Knives” - biting with the harpsichord (an instrument usually associated with the 1700s and being old-fashioned but also having a unique sound that lends to the sharpness of Lady Whistledown) and violins, with the delightful alternating accents between being in two and three in the lower parts return right at the beginning to help bring the audience back into the world of Bridgerton. Her theme is one of the most memorable especially with the voice of Julie Andrews narrating over it.

Each season, the main couple gets their own theme that changes to help tell their journey. In Season 1, Daphne and Simon’s theme was unusual in that had shades of Ravel (a French impressionist composer of the early 1900s) - it was more atmospheric, magical, and almost sensual in colors and harmonies. In contrast, Kate and Anthony’s theme was more dance-like: biting, witty, or full of tension depending on the occasion.

One of the fun parts about a well-written theme is that often composers will take the first few notes as a motif and use it when there isn’t time for the whole theme or to give hints of what is to come or hearken back to what has happened before. In this case, the first few notes of Kate and Anthony’s theme appear in the violins when they begin to race on their first meeting in the park. While the original theme is in minor, it remains playful and exciting also ending with a major chord. It is a little hint, played again in the first 3 notes by the oboe when Anthony sees Kate’s face for the first time. It is not much but an acknowledgement and musical hint that this is important. In a similar manner, more of the melody plays in the violins as Kate leaves, Anthony asks her name, and they both are smiling after this encounter.

Their theme (which will be fully heard in Episode 2) is usually in minor. It leaps down and then up to leading tones or the dissonant notes before resolving. This works well for tension, drama, and angst but that does mean that some episodes will use it much more than others.

When they next see each other, Kate is seeing Anthony awkwardly dancing with a girl at the first ball to the track “Accidental Eavesdropping” - one of the few music moments designed like a pop cover but in fact written by the composer and therefore, more melodic. The dance music usually are either covers for specific reasons or classical music to remain more in the background. But here, it begins to highlight dance as a theme for them musically while very much in the musical sound of Bridgerton. A lot of their interactions are a dance, a play and movement between them, both being drawn towards each other and pushed away, and much of their music reflects that push and pull.

“The real work begins” reminds me of a tango - except in 6 instead of 4. It plays after Edwina is named the diamond and Anthony asks her for a dance, while Kate and Lady Danbury acknowledge that the work begins at that point. It will returns in Episode 7 as the Bridgertons, Sharmas, and Lady Danbury enter the art gallery to work on the ton. Working the ton is another aspect of a a well-choreographed dance or a chess game in moving pieces.

Kate and Anthony’s theme plays once more in Episode 1 in the violins over minor moving chords (a syncopation used often in pop songs and to add drama) in the strings as Anthony tells his mother he shall marry Edwina as Kate looks back taking Edwina away. Again, it is bit of foreshadowing both for their tension and fighting, and whom it is that Anthony will in fact marry in the end.

We return to their theme in the lower violin range in Episode 2 as Anthony arrives to court Edwina and Kate bars him from the door, especially now that she has read more about him. The violin moves higher over moving clarinets and switches time signatures as the lower strings play a waltz pattern as she slams the door in his face. She has won that round as it ends in major. Ending it in major reflects her triumph but also gives amusement to the audience as they watch these two try to out-maneuver each other.

Using the solo violin, especially in the lower range, reminds me of a tango. It is a dance and a seductive dance at that but yet also one that seems to show a bit fight in it as well. That sound is highlighted at this stage of their relationship, as Kate seeks to block Anthony at every turn from courting Edwina and taking pride in it. This version returns combined with the tambourine as Anthony approaches them at the race stands but then turns major in the accompaniment as he shows that he is attending with his charming family. This major version also plays as he sits down next to Edwina. It is Anthony that won this round.

As they argue about the horses, the harp plays the melody. It is a more refined instrument, usually for drawing rooms or romance, but it seems to provide a bit of quiet irony at this stage of a lord and lady arguing about which is the best horse. The piano takes the melody at this stage with pauses similar to a tango rhythm in the pizzicato (strings that are plucking) as well as a bit of tremolo providing tension in the violins (very fast strings that provide a shimmer) as Kate explains why Nectar won’t win in increasing animation. The violins continue their theme as the race begins reflecting their battle over this issue before moving into exciting horse racing music including snare drum.

This “Tango” version of their theme is played in full in “A gift for Edwina” as he tries to give a horse to Edwina only to discover that Edwina does not love horses and Kate smugly explains they were talking about a fictional horse. While the use of the violin and tambourine reflect a tango, the time signature (6/8) is not one used for that particular dance. The piano and flute joins in the second time to add a bit more color being exactly in the same octave range.

Anthony is determined not to let Kate deter him to the point of asking Benedict to teach him poetry to share at Lady Danbury’s party. As Benedict begins to share his own creation of poetry, a major version of their theme plays in higher cello over piano and romantic strings. It is soft and romantic as Anthony hears: “To honor her being with your deeds and words.” While Anthony is planning on sharing these words for Edwina, the music is showing that this will indeed be Anthony’s heart at the end for Kate.

What follows are two moments hearkening back to Season 1, musically beginning with the track “Come with Me.” It first played at the end of Season 1 when Anthony invited Sienna to Daphne’s ball and into his life, the last time he had acted from his heart before choosing to shut down love entirely. Now, Anthony speaks honestly to Edwina that he offers not passion and poetry but action and duty. It is romantic and yet sad as it hearkens back to when he was ignoring duty and now has determined to put feelings aside for duty. In both cases, he was only offering a part of himself. Later on, string patterns intensify as Kate and Anthony hold their first tension filled stare.

The theme “All is Fair in Love and War” plays in the piano as Kate then talks to Lady Danbury. Lady Danbury suggests focusing on herself rather han trying to change things and influence things for Edwina. She finds that Kate refusing to be open to find love for herself very sad. The theme plays as Lady Danbury tells Kate that she cannot be like herself for she has lived a life of both love and loss. This theme is like Ravel, a theme of mystery and a quiet sadness. Loss of love and betrayal for Simon and Daphne, now a refusal to let herself love while focusing completely on her sister for Kate.

The mood shifts as they go to Aubrey Hall. There is cheerful music in the strings for the Bridgerton family throughout the series particularly when seeing them arrive or leave their home which returns as the family welcomes Lady Danbury and the Sharmas. The flute and clarinet adds some lightness as Anthony greets Kate (and Newton) to his home. The music ends abruptly as Daphne assumes Kate is Edwina and Anthony has to deal with the awkwardness. Later on, this music continues light hearted, and almost cheeky as the families play Pall Mall. While not using their theme, the music does reflect a change in mood for the characters as they start to see each other in a new light. As they get the balls out of the mud, a new melody in the style of a waltz plays in the strings. They are still dancing around each other in friendly competition but also helping each other before landing in the mud.

The dinner begins cheerful with pizzicato and tambourine since Benedict is high but changes as everyone expects Anthony to propose. The violins hold a chord while the harp repeats the same note holding everything in suspense but switches to a more melancholy theme used for Anthony this season before ending in dissonance when he doesn’t propose, failing at that moment, leaving some in relief and others in disappointment.

Things begin to change for Kate and Anthony with the bee sting. As Anthony starts to have a panic attack, the strings play col legno (the wood of the sticks playing a percussive tick-tock), the violins play a repeated pattern, and a heartbeat is heard as well in the same way that was used for Anthony right after his father died of a bee sting. The underlying pattern and chords change to a similar one that had been used for Daphne and Simon being the more romantic tension sound, once Kate seeks to calm him down, putting their hands on their chests and then the violins play their motif as she says again: “it was just a bee.” The music goes up as it looks like they might kiss and then stops as they hear a horse, bringing them out of their bubble. As they race away, minor string patterns increase with piano as they are both overcome by emotion, reflecting the swirling and confusion inside.

Both the fun music and tension returns for the hunt while the conversations are given space with silence: upbeat strings in major including a little pizzicato as the party are on horseback for the hunt setting a cheerful mood and then slow string chords with the violins very slowly going up reflecting their tension as Anthony “helps” Kate on how to hold the gun properly and the closeness they were feeling before interrupted.

As they both have trouble sleeping that night during the storm, the piano plays a variety of moving arpeggios with female vocals as Kate gets up. The solo piano is used quite a bit in Bridgerton for intimate moments. What makes this unusual for Bridgeton are the vocals which are rarely heard. It is haunting and fitting for the storm outside and inside for Kate, bringing back of memories of her father and as well as everything she is feeling regarding Anthony. Cello briefly joins the piano as she goes to the library. I will admit I was a bit disappointed this wasn’t on the soundtrack because of how unique it is. Suspended chords in the strings along with the cello and piano return as they stare at each other, having shared about their fathers in a moment of vulnerability before the storm breaks their focus and Kate leaves abruptly.

The Hearts and Flowers ball begin with a delightful track by Kris Bowers similar in nature to the music in the first Ball: souring melodies in violins and cellos accompanied by harp and rhythmic motion in the other strings similar to the other pop songs. Here, Anthony asks Edwina for a dance while Kate looks on with Lady Danbury asking how they have been getting along after the hunt. The actual dance between Anthony and Edwina is a classical string quartet sounding like Mozart or Haydn, a piece signifying that this is not an important moment, that these two are not supposed to be together. Instead, the important song is for Kate and Anthony’s dance: “Dancing on my own” by Robyn. While it is a song about a guy pining away, watching the girl he loves leave with someone else, the lyrics reflect more of Kate’s journey.

“I’m in the corner, watching you kiss her,

I’m right over here, why can’t you see me?

And I’m giving it my all

I’m not the guy you’re taking home

I keep dancing on my own.”

The dance also goes into slow-motion part-way through, another indication of how important this is in their journey of falling in love and being in a close proximity. There is a quote from Jane Austen: “to be fond of dancing was a certain step towards falling in love” and while neither seem to be overly fond of dancing, it is a step towards falling in love and being aware of the others’ presence. However, Kate’s comment that she is returning to India set Anthony off on edge to the library. They continue their discussion of this in the library, letting out their feelings of frustration and vexation. Low held chords in the strings enter as Anthony steps closer stating that Kate hates him. The heartbeat sound enters again with the tension chords (minor and suspensions) moving very slowly as it reflects their close tension, and a timpani roll as he comes close asking if she feels nothing to heighten everything.

It is in the next episode (episode 5) that their theme comes back several times, almost making up for the two episode that it didn’t appear. What was formally a dance of antagonism or a play for beating the other, has come back as angsty longing, a dance of the forbidden looks and remembrances beginning as Anthony walks by Kate going to see the Queen and their hands almost touch as Kate remembering their encounters at Aubrey Hall. The theme is in the piano over strings holding chords, intimate and quiet, reflecting the inner self turmoil while trying to stay calm at the Palace. “Nothing Could Keep Me Away”

The same music returns as Kate is trying on the ring and Anthony holds her hand before switching more to the more dance-like version in the clarinet and pizzicato as the ring gets stuck and Kate has trouble taking it off, both providing humor and emphasizing the awkwardness of the situation.

Once again, the Kathony piano version plays over minor strings and accompanying harp arpeggios as Lady Danbury reminds Kate that Edwina and Anthony are betrothed. That it would be both a scandal and foolish decision to mess things up at that stage. Kate must bottle up her own feelings to protect her family as the melody is spread out, having a few more pauses. “They are Betrothed.”

Violins hold suspensions (tension) as Anthony watches Kate laugh with Mr. Dorsett in slow motion, once again reflecting the tension both in music and the slowing down, making it seem like no-one else is present. Later on, as he offers his hand to her in the boat, the violins again seem suspended with a repeated note before going into the more angsty theme (reminiscent of Season 1) before they realize that they are holding hands, ending abruptly as they land in the water with a drum roll and humorous music as they come out of the water.

After the disastrous dinner with the Shefields, Anthony wants to break off the engagement, very aware that his feelings for Kate could prove disastrous for both of them. As he tells her: “you are the bane of my existence and the object of my desires,” the tension strings return while the cello plays their theme as they almost kiss, recognizing that she has feelings that she never asked for. The cello then repeats a descending minor scale over and over in contrast to the violins going up building up the tension and angst even more as he is worried that he will lose his honor while married to Edwina and then the cellos play their motif over harp as he leaves. “Not far enough”

The motif returns once more in violin and piano over minor strings as Edwina asks Kate if Anthony will forgive them, after telling her that she loves Anthony, breaking Kate’s heart even more as she does not know what Anthony will do.

Kate is determined to make Edwina happy and so is denying both her feelings and Anthony, telling him in the park that she doesn’t want him to break off his engagement both for Edwina’s sake and for his honor. Leading up to this moment is an arrangement of Alanis Morrissette’s song “you oughta know” which also finishes off the episode as Kate says that the feelings will pass because they have to. It’s a messy break-up song for a messy break-up:

“Well I'm here, to remind you

Of the mess you left when you went away

It's not fair, to deny me

Of the cross I bear that you gave to me

You, you, you oughta know”

The sixth episode begins with the contrast of the Bachelor party of the Bridgerton brothers and the Haldi ceremony of the Sharma women to an arrangement of a song from a Bollywood movie “Kabhi Khushi Kabhie Gham” made in 2001. It is a lovely tribute both in seeing part of the Indian heritage for the women in this ceremony before the wedding but also for those watching the series who have Indian heritage and are familiar with the movie and song.

There are many pivotal moments around the wedding beginning with the song “Sign of the Times” by Harry Styles as everyone walks down the aisle:

“Just stop your crying

It’s a sign of the times

Welcome to the final show

Hope you’re wearing your best clothes…

We gotta get away from here.

Just stop your crying

It’s be alright

They told me that the end is near

We gotta get away from here”

Anthony has his breath taken away by Kate as she walks down and they stare at each other for a moment before Edwina and Mary walk down together. It is the end for Kate and Anthony as the wedding begins.

Anthony briefly goes into a romantic dream sequence staring at Kate and imaging that she is his bride instead accompanied by romantic strings (much more what one would expect at a wedding). As the bangle falls and Anthony picks it up, high electronics mixed with violin tremolo and slow moving cellos hold the tension before moving minor patterns begin in the strings as Edwina pieces it altogether in horror and then runs out.

Low cello patterns play as Kate is sent out after confronted by Edwina and Mary, with harp entering as she sees Anthony, and violins play their theme over a rhythmic syncopated pattern (similar to a pop song) over dissonant and minor chords as she runs to hide and hide from him. There is a drive and a desperation to this version as Kate then throws the bangles on the floor in grief and frustration.

Anthony finds Kate after she briefly emerges from the closet and seeks to talk to her to convince Edwina to continue with the wedding. Kate states that she has ruined Edwina’s life and tries to leave, Anthony grabs her hand and asks her to wait. Their theme is passed by different instruments from the violins to the piano to the cello over strings and violin patterns as she pulls away and says goodbye. The music has movement as there is much inner and outer tension between them and yet still seems intimate.

As they receive their letters from Edwina to meet in the chapel (but thinking it is from the other) and Lady Whistledown has a voice-over about marriage, strings and harp play both a sweet and yet sad melody. As she leaves them alone, the song “What about us” by Pink begins as Whistledown speaks again while watching the ton gossip around Lady Bridgerton and Daphne, Theo and Eloise meeting asking about their feelings, and then ending back with Anthony and Kate.

“What about us?

What about all the broken happy ever afters?

What about us?

What about all the plans that ended in disaster?

Oh, what about love? What about trust?

What about us?”

Their tension strings return as Kate says goodbye to Anthony once again but then strings swell, playing their theme as they kiss. It is beautiful but still over minor chords with the cellos playing rolling chords, moving back and forth. It is the kiss that both the audience and the couple have been waiting for and yet, it still feels forbidden, coming off the heels of the failed wedding and potential scandal. It is both a finally yet still full of angst and heartbreak. “To Wait”

As Kate remembers the kiss in bed, it begins with some of the tension strings before playing the piano music from S1 “When You are alone.” This is another part resembling Ravel and is much more of a dreamlike state, used for both Daphne and now Kate as they imagine and remember while in bed. For Kate, it is also accompanied by the sound of a heartbeat again.

Both the Sharmas and Bridgertons try to promenade and show the ton that there is nothing scandalous about the wedding being called off. The harpsichord, often used for Lady Whisteldown’s gossip sheets, play with the cellos as the Bridgerton family walks along and then see the Sharmas, while the violin plays their theme as Kate and Anthony lock eyes. It is a dance again but mixed with gossip and angst with the dissonant string notes underneath, a repeated bass note adding a weight amidst the swirling harpsichord.

Humor does return with the clarinet, strings and tambourine as Newton enters the room as the families try to find a solution and then Edwina exclaims how blind she must have been seeing the two of them gravitate towards each other.

Music used for the Bridgerton family throughout the series returns as they arrive at the art gallery to change the tons mind with the Sharmas while the tango-like theme “The Real Work begins” returns as Lady Danbury catches Anthony noticing Kate’s scent before walking around the gallery. Now, the dance and work is to change minds about their families by inviting them to a ball.

Anthony later sees Edwina leave Kate grieved and alone after she tells her that happy endings don’t exist. Their theme is played in the harp over minor chords as Kate is the one now saying that nothing happened between them, ashamed of how they acted. It hearkens back to their beautiful kiss but over tragic strings as they feel almost farther away, Kate being weighed down by guilt and shame. “Happy Endings don’t exist”

The ball turns out to be a disaster thanks to no-one showing up but the families have a lovely moment of happiness together as Anthony invites Hyacinth and Gregory to dance, bringing back the theme of harmony that Violet was aiming for. It is one of the truly joyful moments for the entire family, bringing back laughter and smiles even for a little bit as Kate and Anthony finishing dancing together. The music itself is a joyful piece in the style of Bridgerton, mixing the sound of a country dance with the movement of the series.

The scandal of Eloise’s choices and Edwina’s hurtful words send Anthony and Kate out separately to the garden and gazebo. Most of their conversation is over silence to help their words and tension speak for itself. High violins hold a single note as Anthony asks: “ what if we do something for ourselves?” instead of for their families. To give in to their feelings and desires. It continues to hold as he asks her to go inside and then the song “How Deep is Your Love” by Calvin Harris and Disciples begins in the viola as she responds that she does not listen to orders. As they give in, kissing each other, removing clothes, and then making love in the gazebo, the song continues:

“I want you to breathe me in

Let me be your air…

How deep is your love?

Is it like the ocean?

What devotion are you?

How deep is your love?”

Anthony awakens to find Kate gone and as she runs into her room, she is hit with flashbacks of their encounter that night, accompanied by drums, col legno, tremolo, and low violins playing their theme, growing in a crescendo. Cellos play their theme as Anthony pulls out the engagement ring, intending to propose, and piano then takes over while he waits for her. Underneath all of this, there is an energy in the middle strings building up to the fact that Kate has gone out on her horse in the storm. The feeling changes to become much more intense as they are both racing on their horses, with the meter changing (less playful) and even a few low brass accents with the drums. It is similar music to the Duel in Season 1 which shows how serious it is. Cellos and clarinet play their theme as Anthony is trying to find her. The music grows and then stops as she falls in slow motion off her horse to Anthony’s horror. A new melody but similar angsty melody plays in the cellos as he runs to her side.

This music continues as he covers her with his jacket, goes up a key (raises the stakes and emotions) as he sees blood from her head, and their theme returns in the cellos and horn as he carries her. Things get a bit quieter as the doctor sees her but as Anthony comes to the conclusion that it is his fault, he leaves over tremolo and drums beats, lost in his shock and trauma. This music is also very similar to the parallel moment right after his Father dies and he is in grief and shock. Musically, it is tying these two events together. “It’s my fault” and “Lord Bridgerton Stung”

Violet later tells Anthony that she is worried for him when she learns he hasn’t visited Kate over minor strings after he snaps at his family, sending them away. The music transitions to higher electronic music (almost like an organ) as Kate is shown still asleep. When she does awake and asks about the Viscount, both strings and oboe play when she hears that he rescued her but turns to minor chord when she realizes he hasn’t visited since. The last chord transitions to Anthony as Violet tells him that Kate has woken up. While most of this heart-breaking scene is in silence, high violins hold a single note as he admits that he doesn’t think he can see Kate. Quiet piano chords play with a few changing chords in the strings as Violet tells him that true love is worth it and not to lose Kate.

Anthony chooses to listen to this and propose to Kate. By the way, if you ever watch enough period dramas, you will note that the proposals that fail are often in silence which is true in this case. It is not until Anthony accuses Kate of running away that minor strings and harp enter and she tells him to go.

The synth music returns (the same when the Sharma family was waiting for Kate to wake up) as Kate and Mary have a very important talk. Mary explains that Kate did not have to earn her love and that she deserves all the love in the world. This musical instrument and sound is also used for key moments with Violet and Daphne in S1 and then in one or two moments with Anthony in S2. Heartfelt and yet hard conversations between Mothers and their adult children. Strings enter playing the same music as Kate shares that Anthony proposed and she refused because she believed that he doesn’t love her.

Everything changes at the Ball (I still can’t get over the turning ensemble in the center) as Anthony dances with Kate to “Wrecking Ball” by Miley Cyrus. It becomes a risk as everyone else comes off the dance floor but as the Queen (and Edwina) gives her approval of the two of them, they become fixed on each other, thinking this could be their last dance.

“Don’t you ever say I just walked away

I will always want you…

I came in like a wrecking ball

I never hit so hard in love

All I wanted was to break your walls

All you ever did was wreck me

Yeah, you, you wreck me”

Mrs Fetherington throws a big fireworks display outside and Anthony finds Kate alone in the gardens waiting for the display after the dance. The piano (remember intimate moments) and strings come in as he tells her that he loves her, the cellos play as she answers back that she loves him as well and then their theme returns as they kiss, this time in major as it soars in the violins with a beautiful harmony line in the cellos. All the dancing, the fighting, the angst has been transformed into a deep, passionate love now transformed into this beautiful version of their theme. It is a theme that begins from their old one but continues into something new. “I love you”

This transformed major motif of their theme carries on in the cellos over a theme for the show heard in extravagant balls and gatherings such as Season 1’s Ball where Simon and Daphne pretend to be courting “We Could Form an Attachment.” Here, Penelope has a voice-over for Lady Whistledown as we see everyone’s current endings, intermixed with the party and fireworks. While we see a mixture of happy endings and sad, the new and old love theme carries through as Penelope says that in silence, one has to listen for truth. Trumpet and brass joins in as Lady Whistledown announces that she is not kept silent. “It has been said”

The music turns from the big and full to a smaller string ensemble but yet very joyful as Anthony and Kate are kissing and staying in bed instead of joining the family, having recently returned home from their honeymoon. As we see the family outside Aubrey Hall waiting to play Pall Mall again, a fuller orchestra mixed with piano again reflects the joy and ease of the family being happy and playful together. The music slightly shifts in tempo as the scene focuses more on the couple bantering back and forth about Newton, a timpani roll plays as he swings her into a hug and kiss before the cellos once again play the happy motif of their theme, the music crescendoing with flute and piano chords until the violins take their new full love theme, soaring again as they kiss each other, ending with the piano and harp in unison going up, culminating with a quiet, intimate, happy ending as they gaze into each others eyes. “Newlyweds”

It is a beautiful theme and motif to go through so many variations as their journey changing from antagonistic, to a dance of wits, to angst and tension, to hurt and grief, to life and death, to love fulfilled. One can hear their emotional journey through the music and feel what they feel. A beautiful job by Kris Bowers and his team for telling their journey so beautifully.

@herskirtsarentthatshort @latinasmoak @jedichick04

#bridgerton season 2 #bridgerton soundtrack #kris bowers #kate sharma #anthony bridgerton

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