Writing two scores for English period dramas during 2004, Mychael Danna must be in danger of receiving death threats from Patrick Doyle and Rachel Portman.  Following the sumptuous Being Julia came Vanity Fair, an adaptation of Thackeray's classic novel, starring (a somewhat unlikely) buxom Reese Witherspoon in this social drama, and featuring the usual suspects in support including the always-wonderful Jim Broadbent, and Trigger from Only Fools and Horses ("all right Dave?").  The film made little impression over here in the green and pleasant land (though it did come hot on the heels of an excellent BBC tv adaptation of the same material a couple of years beforehand, which probably didn't enhance the box office prospects).

Danna's music is everything you expect a film like this to inspire - what I frequently describe as "classical stylings", a phrase which means nothing much, but I'm fond of it.  We get little brass flourishes, flowing strings, lovely melodies - it's a warm, summery score very much in the vein of Doyle's work for Sense and Sensibility.  It's blessed with a very fine theme too, heard first sung by Sissel in the opening track "She Walks in Beauty".  Sissel usually gets used by film composers who want Enya but are on a budget, but here she is allowed to sing in her own way and is impressive.  The melody receives its share of orchestral performances as the album goes by, each one delightful and unique; it's not just a series of repetitions.

There are several tracks which stand out as particular highlights.  "I've Made up my Mind" sees the orchestra swell and is very beautiful; "Sir Pitt's Marriage Proposal" is sprightly and fun; "Time to Quit Brussels" sees the score take on a considerably darker and more dramatic tone (and the track title suggests the UK Independence Party isn't as new as we all thought - where's Kilroy when you need him?)  which remains through much of the album's middle section; the music keeps on being firmly orchestral and that it flows so well from the pretty cheerful music which preceded it is testament to Danna's abilities.  There are also two other original songs by Danna, "The Great Adventurer" and "Now Sleeps the Crimson Petal", both sung by the wonderfully-named Custer LaRue, again recalling Doyle's finer moments; and Danna managed to work with a couple of good lyricists, Lord Byron and Alfred, Lord Tennyson.  I didn't know they were still around.

Both Mychael Danna and his brother Jeff have been turning out highly impressive material in recent years, with Mychael having very much branched out recently, writing far more traditional scores than he was known for previously, when his career was dominated by quirky, frequently rather unusual music.  It's not an unwelcome diversion and, while I'm sure he will return to his roots soon enough, it shows a penchant for writing fine orchestral music which I'm not sure many knew he possessed.  Vanity Fair is a great score, easily as good as those for similar films by Doyle, Portman or Carl Davis, and is one of 2004's most impressive.