Personally, I'd have to go with Much Ado About Nothing. It's got so many levels, from an epic theme to the romantic parts to some actiony parts.

Honorable mentions go to:
Henry V
A Midsummer Night's Dream (both the classical and the recent flick by Simon Boswell)

Now, don't get me wrong here. I happen to love all of Doyle's scores to the Shakespeare films. Much Ado... is great fun (maybe because I've always had a lot in common with Benedick), and it has it's poignant moments as well. So does Hamlet (more drama than fun there )

I happen to like Morricone's version of Hamlet (you know, with Mel Gibson as the title character). Ennio does some great work in that film, bringing fort the emotion of the many suspenseful, touching, and action scenes.

I also liked the score to the 1995 version of Othello. In fact, I'm going to have to dig it out and play it. I haven't done that for a while. Come to think of it, nbow I want to load up the CD-player with "Music from Shakespeare Films."

By the way, I liked Warbeck's Shakespeare In Love as well.

Kevin

Henry V
Hamlet
Richard III
As You Like It

Patrick Doyle certainly has the edge on Shakespeare-scores, and deserves it, for some of the most colorful, dramatic, romantic, pathos-tinged music for the work, everything from Henry V to Love's Labour Lost...(so far!)

Credit must go to Charlie Mole for Othello, a darkly romantic score, quite apt. Sticking to moody, Carter Burwell's 2000 interpretation of Hamlet is rather, though appealing more to fans of Hamlet, the work, and Burwell, the Composer.

Morricone's Hamlet is both medieval and morose. Appropriately so, however.

Of Richard III, Trevor Jones's work is notable, though somewhat minimal, as the film (interpreted as a 1920's/30's period piece) falls more on dialogue and period source music. Also recommended is Howard Shore's looking for richard, a score many listers might enjoy tracking down after the broad appeal of Fellowship of the Ring.

Simon Boswell's additions to A Midsummernight's Dream are quite charming, and serve well to tie together the Mendelssohn cues, which are featured more prominently in the film.

(I am anticipating that somewhere along John Scott will re-release Antony and Cleopatra, though it may have already happened...)

quote:

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Originally posted by SCimmerian:
WALTON. Hey Marian do you have Walton's Symphonies or Belshazzar's Feast.

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quote:

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Originally posted by SCimmerian:
Hey Marian do you have Walton's Symphonies or Belshazzar's Feast?

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