Love and Friendship was written primarily for the amusement of her large and gregarious family, and young Jane was probably called upon to read her writings aloud. The reader can only imagine the sheer hilarity that the novel must have evoked. Shakespeare on love and friendship Download shakespeare on love and friendship or read online here in PDF or EPUB. Please click button to get shakespeare on love and friendship book now. All books are in clear copy here, and all files are secure so don't worry about it. لطفا برای دانلود از نرم افزار های دانلود منیجر مانند idm استفاده نمائید. - زمان انتشار زیرنویس ها توسط مترجمان معلوم می گردد.
Love & Friendship | |
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Directed by | Whit Stillman |
Produced by |
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Screenplay by | Whit Stillman |
Based on | Lady Susan by Jane Austen |
Starring |
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Music by | Mark Suozzo |
Cinematography | Richard Van Oosterhout |
Edited by | Sophie Corra |
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Distributed by | |
Release date |
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93 minutes | |
Country |
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Language | English |
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The soundtrack to Love & Friendship, filmmaker Whit Stillman's adaptation of Jane Austen's early short novel Lady Susan, is not original, but is mostly adapted from a variety of existing pieces. The soundtrack, in short cuts, effectively captures the quick rhythms of Stillman's film and for that reason will likely satisfy fans of the film. But most of them are anachronistic to the Regency period in which Austen lived and which is depicted in the novel and film. Stillman was not after historical accuracy (indeed, he used not the title Lady Susan, which in any event was not Austen's own, but that of a different piece of writing by the young Austen). Still, it is worth asking why you hear mostly Handel and Vivaldi and even Purcell rather than Mozart and Beethoven (who are briefly included) or Haydn or even Arne (neither of whom appears). Possibly, even in a reading of Austen that's as lively and filled with contemporary currents as Stillman's is, the music of the Baroque connotes seriousness in a way that the Rococo and Classical styles do not. Possibly it has to do with the structure of the soundtrack: music appears at moments of entrance and ceremony for which something like William Boyce's Largo from the Symphony No. 6 in F (sample track three) fits best. Whatever the case, the playing of the little-known Irish Film Orchestra under Mark Suozzo is attractive, and the soundtrack has found unusual commercial success in Stillman's native U.S. Enjoyable even as one chews on the issues involved.
Title/Composer | Performer | Time | ||
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1 | 01:00 | |||
2 | 01:32 | |||
Symphony No. 6 in F Major | ||||
3 | 01:06 | |||
4 | feat: William Butt / Archie Chen / Dianne Marshall / Paul Woodiel | 02:08 | ||
The Mass for Mr. Mauroy | ||||
5 | feat: The Irish Film Orchestra | 00:51 | ||
Cessate, Omai Cessate (RV 684) | ||||
6 | feat: Chloe Martin / The Irish Film Orchestra | 01:17 | ||
7 | 01:30 | |||
String Quartet, Op. 1/1 | ||||
8 | 00:54 | |||
Giulio Cesare in Egitto | ||||
9 | 00:54 | |||
Cello Sonata No.3 in A Major | ||||
10 | 00:43 | |||
Rodelinda | ||||
11 | 00:57 | |||
12 | 00:47 | |||
13 | 00:34 | |||
Tamerlano | ||||
14 | 01:00 | |||
15 | 00:37 | |||
16 | 01:16 | |||
Scipione | ||||
17 | 01:28 | |||
Amadis de Gaule | ||||
18 | 00:43 | |||
19 | 02:41 | |||
Stabat Mater, (RV621) | ||||
20 | 00:45 | |||
Cello Concerto in C Major (RV402) | ||||
21 | 01:25 | |||
Idomeneo | ||||
22 | 01:04 | |||
Così Fan Tutte | ||||
23 | feat: Chloe Martin / Paul McGough / The Irish Film Orchestra | 03:19 | ||
24 | feat: The Irish Film Orchestra | 01:00 | ||
25 | English Traditional / Traditional | feat: The Irish Film Orchestra | 01:10 | |
26 | feat: David Adams | 01:00 | ||
27 | feat: The Irish Film Orchestra | 01:10 |