[GerateWohl]

Maybe I could mention one more.
THE VELVETEEN RABBIT is a score I like a lot. But as most Netflix scores it didn’t have a physical release.

It is kind of a typical nature related impressionistic score mainly based on woodwinds, strings, harp and piano, some percussion, very few brass.

[Thor Joachim Haga]

I do remember sampling that when it came out. Pleasing, but not something that lit me on fire.

[Jon Aanensen]

I read in one of the liner notes that Dudley also played keyboard on ABC’s Lexicon of Love

She was also arranger/orchestrator on that album.

[villagardens553]

Well, I really love her score for The Full Monty; it captures the lazy, unaccomplished nature of the characters, with its slow rhythms, harmonica, and the low-rent, downcast variation on “Rocky.” Oddly, for such a brief score, you have to own three CDs: both officially released soundtrack issues plus her Oscar demo, which does not contain all of the score. I think the score worked brilliantly in the film and Dudley deserved the Oscar.

My other personal favorite work of hers is her music for the British series Jeeves and Wooster. The long OOP CD contained a handful of cues, but the series had so much more, lots more, and she scored every episode with many variations of her witty 1920s jazz theme. Parts of her score for The Hustle owe a lot to Jeeves and Wooster.

[Author]

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