If you hear the score for La Belle et La Bête, by Georges Auric, you may be tempted to sit and watch the whole movie.
"Suites for Two Pianos” by Sergei Rachmaninoff is amazingly romantic, and the perfect music for a garden party.
"Halloween Town” from The Nightmare Before Christmas, by Danny Elfman, is my favorite song from the whole movie.
"There's No Business Like Show Business” by Irving Berlin, is Kitten's favorite song, ever, and the one that really sums her up.
Selections from The King and I, by Rogers and Hammerstein, cannot be fully apreciated unless sung by a Mini, but certain Broadway personalities have given it the ol' college try.
The score for Around the World in 80 Days, by Victor Young – as Oichi says, it makes you feel as if “We have nothing better to do than drift lazily in this balloon. . . . ”
The score for Mysterious Island, by Bernard Herrmann, is packed with dangers and thrills.
"Hydra's Teeth/Skeletons/Attack” from Jason and the Argonauts, by Bernard Herrmann, makes excellent use of the bassoon and a variety of interesting percussion instruments.
"Baba Yaga” by Anatoly Liadov will evoke images of the hut that walks on hen's legs.
"My Little Grass Shack” from Ports of Paradise, arranged by Alfred Newman and Ken Darby, performed by Mavis Rivers, is the definitive version of this song, and showcases the variety of Indigenous percussion instruments that were lovingly recruited by Ken Darby for this recording.
Hawaiian, Tahitian, and Maori folk music is best appreciated when it's sung, danced, and played at once. It's hard to find good performances online, possibly because there are so many to sift through. Probably you have to see it in person to appreciate its full impact.
"Nocturne/The Flashlight/The Robot/Space Control” from The Day the Earth Stood Still, by Bernard Herrmann, is Sense of Wonder, personified.
Oichi's Default Majesty Music makes another appearance, once she catches sight of The Three, close up.
"The Sunken Cathedral” a.k.a “The Engulfed Cathedral” by Claude Debussy, arranged for synthesizer by Isao Tomita, is my favorite rendition of this piece, which has always sent chills down my spine. Yolanda Kondonasses also does a gorgeous version for solo harp.
I would be remiss if I didn't mention Lady Sheba's “Canon in D” by Pachelbel, which turns out to be a bit of a plot point.