The Wicked Witch of the West is a notable character in the famous novel "The Wonderful Wizard of Oz" by L. Frank Baum. She is also a prominent character in the 1939 film adaptation of the book, titled "The Wizard of Oz." Throughout the story, the Wicked Witch is portrayed as an evil and powerful sorceress who seeks to maintain her control over the Land of Oz. In both the book and the film, the Wicked Witch is often associated with eerie and threatening music that accompanies her appearances. The music used to depict the Wicked Witch is haunting, dark, and ethereal, creating a sense of foreboding whenever she is on screen or mentioned.

MOVIE MUSIC UK

Following the enormous commercial success of Walt Disney’s “Snow White And The Seven Dwarfs” (1937), MGM Studio Executive Louis Mayer was determined to cash in and duplicate its success. He found the story he felt was needed and purchased the rights to L. Frank Baum’s novel, “The Wonderful Wizard of Oz” (1900). Noel Langley, Florence Ryerson and Edgar Allan Woolf were tasked with writing the screenplay. Veteran director Victor Fleming was hired for the project and he assembled a cast, which is now legend; Judy Garland (Dorothy), Frank Morgan (Professor Marvel/Wizard of Oz), Ray Bolger (Hunk/Scarecrow), Jack Haley (Hickory/Tin Man), Bert Lahr (Zeke/Cowardly Lion), Billie Burke (Glinda) and Margaret Hamilton (Miss Gulch and the Wicked Witch of the West).

The film version deviated from the novel in that Oz became a dreamscape, not the real place envision by Baum. It tells the magical and fantastic story of a little girl and her dog who are transported in her Kansas house by a tornado to the wondrous Kingdom of Oz. Aided by Glinda, the good witch of the North, Dorothy travels with her trusted dog Toto along the yellow brick road in search of the Great Wizard. He dwells in the Emerald City, and she hopes that he will grant her wish to go home. Along the way she meets and befriends a Scarecrow who seeks a brain, a Tin Man who seeks a heart, and a cowardly Lion who seeks courage. They join in common cause to aid her on her quest, which is repeatedly opposed by the wicked witch of the West. After many adventures Dorothy finds the Wizard, only to realize that she alone has the power to go home. She clicks he Ruby Slippers three times, wishes, and wakes up to find herself back with her family in Kansas. All is well that ends well! The film was a huge commercial success, held in many quarters to be a masterpiece of film art, and continues to resonate with the public decades later. It was also a critical success, earning six Academy Award nominations, winning two for Best Original Score, and Best Song “Over The Rainbow”.

It was decided from the beginning that this film would be a musical, and so the trusted team of composer Harold Arlen and lyricist Yip Harburg were hired to write the many songs. Composer Herbert Stothart was tasked with adapting and integrating the songs within the tapestry of his underscore. The film is rich with themes and songs including; Glinda’s Theme, a simple, twinkling and repeating, six-note phrase. There is an ethereal quality that supports her persona as the good witch of the North. Toto’s Theme is a bouncing, playful identity carried by spritely woodwinds, which perfectly capture the spirit of our little hero. Later a flight theme becomes associated with our little hero, a wonderful presto paced flight passage born by strings and woodwinds animato. Stothart interpolated Mendelssohn’s Opus 16, #2 for this theme. The Over The Rainbow Theme derives from the song, which Garland sings in Act 1, and what I believe is the most sublime joining of lyrics and melody in film score history. It serves as Dorothy’s Theme and Stothart uses it orchestrally to ever remind us of the story’s message, that, “dreams do come true.” For our villainess, we have Gulch’s/Wicked Witch Theme, which is emoted by menacing strings and woodwinds animato. It perfectly captures her mean and sinister nature with its repeating seven note phrases. Of note is that her theme is a twisted variant of the We’re Off To See The Wizard Theme. The song “We’re Off To See The Wizard” is in many ways the theme that holds the tale together. Its joy and hopefulness are for me essential to the film’s narrative.

Professor Marvel’s Theme is animated serpentine line carried by exotic flute and strings misterioso, which perfectly captures his nature as a charlatan. The Ding Dong The Witch Is Dead Theme is derived from the song. March like in construct, it is festive, and celebratory as the munchkins are joyous with the passing of the wicked witch of the east. The theme is just infectious, making you want to join in! The Scarecrow Theme is a bouncy playful seven-note identity with a child-like quality. During the story Stothart expertly transfers it to and fro from a variety of different woodwinds. The song “If I Only Had A Heart” serves as the identity for the Tin Man. There is a wistfulness to his theme perfectly captures his life story and aspirations. Two songs animate our cowardly Lion, the somewhat pathetic “If I Only Had The Nerve” and the pompous “If I Were King Of The Forest”. The Wizard’s Theme is a classic marcia marziale that attests to his power as overlord. Lastly, we have the Winkie March, a grim pulsing march abounding in darkness and supported by repeated bass choral utterances of “O-Ee-yah! Eoh-Ah”.

“Main Title” is a wonderful score highlight, which opens grandly with fanfare heralding Glinda’s Theme as the MGM logo displays. As the opening credits roll, Stothart provides a fine medley of the score’s primary themes, which perfectly sets the stage for our amazing adventure! We flow into the opening scene “Trouble In School” where we see Dorothy and Toto fleeing along a country road to her farm from the dreaded Miss Gulch, who Toto snapped at. Toto’s Theme carries their flight. At the farm, Aunty Em scolds Dorothy and tells her to go somewhere where she will not be in the way. A distraught Dorothy seeks solace in solitude. The song, “Over The Rainbow” which may be the greatest in film score history, offers the score’s supreme moment, and also earned Judy Garland, immortality. We hear from her aspirational longing for the idyllic, which captures the emotional core of the film’s narrative. As Garland’s sings to the heavens her superb vocals make this a perfect film moment!

Somewhere over the rainbow way up high,
There’s a land that I heard of once in a lullaby.
Somewhere over the rainbow skies are blue,
And the dreams that you dare to dream,
Really do come true.

Someday I’ll wish upon a star,
And wake up where the clouds are far behind me.
Where troubles melt like lemon drops,
Away above the chimney tops,
That’s where you’ll find me.
Somewhere over the rainbow bluebirds fly,
Birds fly over the rainbow. Why then, oh, why can’t I?
If happy little bluebirds fly,
Beyond the rainbow, why, oh why, can’t I?

“Miss Gulch” introduces our villainess who comes with a court order to take Toto. Dorothy and the family are devastated as she takes Toto away. Gulch’s Theme is offered an extended rendering and juxtaposed with the Over The Rainbow Theme, which informs us of the clash between these two characters in Kansas and later in Oz. “Leaving Home” is a well-designed cue, which reveals Toto escaping and returning home. Dorothy, who fears losing him again, flees with him. Stothart animates the scene with interplay of Gulch’s Theme and Toto’s Theme. A line of plaintive strings and woodwinds support their travels from home, with a fleeting reference to the Over The Rainbow Theme and the exotic flute born Professor Marvel Theme as she meets him. In “Crystal Gazing” Professor Marvel, a travelling charlatan and huckster, uses his crystal ball to portend Dorothy’s future. His theme alludes to his quackery, but he has a good heart and sentimental strings support his counsel to Dorothy that is best that she return home.

“Cyclone” is an amazing score highlight, and an amazing tour de force, which is offered in its extended form. You may listen to the truncated film version on CD 2, cue 17. In the scene, Dorothy is stunned by a shattered window frame and falls into her bed with her head spinning. We see the storm vortex outside also spinning and bear witness to all sorts of people and objects caught up in funnel. Stothart creates a mysterioso color to support the parade of themes in this amazing montage. We eventually flow into with Gulch’s Theme, which supports her transformation from Miss Gulch, to the broom flying wicked witch. As the house falls a furious orchestral crescendo ends with an eerie silence. “Munchkinland” is just a magical cue. Dorothy steps out of house to find herself in s strange land. The shift from a black and white film to full cinematic color her was a masterstroke that supports that we are not in Kansas anymore. Dorothy’s Theme carries the moment and is supplemented with ethereal voices and a fleeting reference by a portentous Ding Dong The Witch Is Dead Theme. A radiant celestial orb descends atop Glinda’s Theme and she materializes in front of Dorothy. In “I’m Not A Witch” she asks Dorothy if she is a good witch or a bad witch. Stothart blends his Dorothy’s the Wicked Witch and Ding Dong Themes to support the meeting.

The next ten cues offer a seamless parade of wonderful song and dance numbers, which for me are the most fun and enjoyable part of the score! We begin with “Come Out, Come Out…”, our second song, sung with gentility by Glinda, who tells the Munchkins of the miracle – killing the wicked witch. We shift gears and accelerate tempo with a new melody sung by Dorothy in “It Really Was No Miracle”, with accompaniment from the Munchkins who celebrate with dance. A bridge by trumpets takes us into “We Thank You Very Sweetly” where Munchkins Joseph Koziel and Frank Cucksey thank Dorothy for freeing them. Glinda calls forth a celebration and we flow into a full rendering of the marvelous “Ding-Dong! The Witch Is Dead’ song sung by the Munchkins, who march is joyous celebration! Regal horn fare ushers in “As Mayor of the Munchkinland City” where the town’s mayor officially welcomes Dorothy. The song is sung by Billy Bletcher, with support from Pinto Colveg and J.D. Jewkes. A transition on strings brings us “As Coroner, I Must Aver” sung by Harry Stanton, who certifies that the witch is indeed dead. Horn fare again ushers in a reprise of the celebratory “Ding-Dong! The Witch Is Dead” by the parading Munchkins. A bridge by silly woodwinds introduces “The Lullaby League”, sung sweetly by dancing ballerinas Lorraine Bridges, Betty Rome and Carol Tevis. Next comes the boy’s turn in “The Lollipop Guild” where ‘bad boys’ Billy Bletcher, Pinto Colveg and Harry Stanton sing and dance their thank you to Dorothy. Celebratory horns lead us into the finale, “We Welcome You To Munchkinland” sung by the joyous Munchkins who thank Dorothy and welcome her to Munchkinland. We slowly ascend towards a wondrous climax only to have the song severed by the explosive arrival of the wicked witch of the west.

In “Threatening Witch”, an ominous orchestral cacophony ushers in our villainess. A reprise of Gulch’s Theme links the two characters. She is outraged at the death of her sister. When Glinda transfers the ruby slippers from the dead witch to Dorothy, the wicked witch of the west threatens retribution, which we hear as striking, ominous, dark chords. She leaves angrily as she came, in a ball of fire. “Leaving Munchkinland” offers tender orchestral reprises of “Come Out, Come Out…”, “Ding-Dong! The Witch Is Dead’ and Dorothy’s Theme as Glinda counsels Dorothy to seek out the Great Wizard in the Emerald City by following the yellow brick road. In “Good Fairy Vanishes”, Glinda transforms into a radiant celestial orb, and leaves to a twinkling expression of her theme. The cue finishes with a series of tones, which mark Dorothy’s first tentative steps along the yellow brick road. We conclude this cue sequence with a wonderful score highlight, the joyous song medley of ‘’Follow The Yellow Brick Road” sung by the Munchkins, and “You’re Off To See The Wizard” sung by Judy Garland and the Munchkins as we see Dorothy happily skip off to her destiny as the festive Munchkins wish her well. It just does not get any better than this – a perfect synergy of imagery and music!

In “The Cornfield” Dorothy comes to a junction, which offers three choices. She is unsure of how to proceed until a mischievous scarecrow helps her decide. This is an enjoyable cue! It offers an extended prelude that features the seven-note Scarecrow Theme, which is kindred to the song to follow and expressed by various woodwinds. It joins in a playful tête-à-tête with phrases of the Yellow Brick Road Theme. The Scarecrow introduces himself to Dorothy with a marvelous song, which perfectly captures his life story and aspirations. “If I Only Had A Brain”, which is sung by Ray Bolger and Judy Garland is a wonderful song and score highlight! The CD offers the full version as the final film truncated the performance. In “We’re Off To See The Wizard” the Scarecrow asks to join Dorothy on her quest, hoping that the Wizard may also grant his wish for a brain. They lock hands and skip happily forward together as they sing in duet “We’re Off To See The Wizard”.

In “The Apple Orchard” our travelers skip along atop the Scarecrow Theme that is joined by a few bars of the popular song “In The Shade of the Old Apple Tree” as they come across an orchard. When Dorothy picks an apple off one of the trees, the tree slaps her hand and admonishes her. They flee in a hail of apples, which as they collect leads to discovering the Tin Man. The popular song “In The Shade of the Old Apple Tree” reprises to support their flight. “If I Only Had A Heart” is another wonderful score highlight, which introduces us to the Tin Man. He too has a marvelous song, which is sung by Jack Haley. Like the Scarecrow, his song perfectly captures his life story and aspirations. “In Witch On Roof” the wicked witch appears atop her theme and dark tremolo strings. She threatens the trio and flings a fireball at the Scarecrow before disappearing in red smoke. Much of “Bees And Tin Woodman Lament” was dialed out of the film. Stothart adapts the same techniques employed by Rimsky-Korsakov in his “Flight of the Bumblebee” to support the swarming bees. The cue closes with “If I only Had A Heart” expressed sadly as a lament. And so the Tin Man joins our group hoping to also gain favor with the wizard. Our three heroes dance off together singing “We’re Off To See The Wizard”.

“Into The Forest Of Wild Beasts” reveal our heroes entering a forbidding dark forest. Stothart introduces the orchestral version of his “Lion and Tigers and Bears, Oh My!” song to support the trek. An accelerando climaxes with orchestral growls as suddenly the Lion jumps out and attempts to bite Toto, only to miss and be slapped by Dorothy. “If I Only Had The Nerve” features the Lion singing his sad song with the others joining in. Now a quartet, our heroes lock arms and skip off singing happily “We’re Off To See The Wizard”. In “Poppies” the wicked witch atop her theme cast a spell over a field of poppies to induce sleep. Eerie discordant strings play as our heroes cross the field and we see Dorothy, Toto and the Lion fall asleep. As Glinda intervenes with a healing snow shower the music brightens and glistens as the spell is undone and everyone awakes. “We’re Off To See The Wizard” supports the final leg of their journey and horns maestoso herald the shimmering Emerald City in the distance. Much of the scene from “The Spell” ended up on the cutting room floor. It features interplay of Brahms’s “Lullaby”, the Witch’s Theme and Dorothy’s Theme, and Glinda’s Theme glistens as the snow falls to save our heroes. The piece ends darkly with a final reprise of the Witch’s Theme as she flies to Oz.

In “Optimistic Voices” unseen voices abounding with happiness support the joy of our heroes at last reaching the gates of the Emerald City. “Sign On The Gate” reveals our heroes denied entry until the guard sees Dorothy’s ruby slippers. The Wizard’s Theme supports the opening of the gates and their entry. In ”The City Gates Open” we are treated to another score highlight as the wonderful and celebratory song “The Merry Old Land Of Oz” is introduced to support our heroes’ carriage ride through the city. The song is sung by carriage man Frank Morgan and our quartet! The song is sustained as we change scenes to see each character being cleaned, groomed and manicured. Of interest is that there is a specific stanza and lyrics dedicated to each character. We build to a grand climax in the city square, yet a dark muted trumpet emoting the Wicked Witch Theme severs the melody, as the wicked witch sky writes “Surrender Dorothy”. “If I Were King Of The Forest” is a score highlight and a hilarious cue! We open with faux regal fanfare, which introduces the cowardly Lion’s aspirational song, sung by Bert Lahr. This segues into a pompous ceremonial coronation march as he is draped and crowned by his companions.

In “At The Gates Of Emerald City” their request to see the wizard has been denied and the Wizard’s March sounds. Much of the cue was left on the cutting room floor including the reference to Dorothy’s Theme as the Lion consoled her. As the guard relents and let’s them pass, a dark and ominous soundscape is woven as they advance to the audience chamber. “Magic Smoke Chords” offer a series of massive, dark shattering chords, which support the imagery of fiery erupting plumes that animate the Wizard’s projected image. In “Terrified Lion” the Wizard frightens the Lion who flees wildly to flight music from the chamber. In “The Haunted Forest” our heroes journey to the wicked witch’s castle to obtain her broom, the Wizard’s price for granting their wishes. Once again Stothart weaves a dark soundscape aided by the Theremin and the Witches Theme. While there are comic moments, over time the Witch’s Theme grows increasingly powerful and menacing as she sends her Jitterbugs to fetch Dorothy. “The Jitterbug’s Attack” offers nice interplay and reveals the witch’s legion of flying monkeys swooping down on our party. Dark hunt and pursuit music animates these creatures and their music overwhelms “We’re Off To See The Wizard” and the Scarecrow’s Theme, which try to assert themselves as our heroes are overwhelmed and Dorothy and Toto taken hostage.

In “The Witch’s Castle” Dorothy is under a death sentence as an hourglass slowly empties. Repeated harsh, orchestral descents signal to us that time is running out. As Toto escapes we embark on a wonderful presto paced flight passage born by strings and woodwinds animato. Stothart interpolated Mendelssohn’s Opus 16, #2 for this passage, and it works very well! “Toto Brings News” opens with the Scarecrow’s Theme as the Tin Man and Lion attempt to put him back together. A reprise of Toto’s flight music heralds his arrival and they all leave to rescue Dorothy. To cut down the film’s running time Dorothy’s reprise of “Over The Rainbow” was cut. “March of The Winkies” is a wonderful score highlight! It reveals our heroes arrival at the Witch’s castle. They overcome three guards, steal their uniforms and then join them as they march into the castle. Stothart provides his famous Winkie March, a grim pulsing march abounding in darkness and supported by repeated bass choral utterances of “O-Ee-yah! Eoh-Ah.” As our heroes sneak into line the march ascends in it register and brightens, ultimately fading away, as the break away to rescue Dorothy. For “Dorothy’s Rescue” Stothart interpolated Mussorgsky’s horrific “Night On Bald Mountain” music to support her rescue. Repeating orchestral stingers reference the dwindling sands of the hourglass.

For the “On The Castle Wall” scene our heroes attempt to escape but are ultimately surrounded. Stothart supports the scene with some inspired syncopated flight music. When the wicked witch arrives her theme sounds with menace. When she sets the Scarecrow aflame Dorothy extinguishes it with a bucket of water that also splashes on the witch. This causes her demise as she slowly melts away out of existence. The Winkies are stunned and proclaim Dorothy a hero for freeing them. The Winkie March supports their acclamation. In “The Wizard’s Expose” we discover his true identity as a humbug and Stothart supports the now exposed charlatan with Professor Marvel’s Theme. We segue into “Emerald City Graduation Exercises”, where the Professor assigns each of our heroes their reward; a diploma to the Scarecrow, for which Stothart used collegiate commencement music interpolated from “Guadeamus Ignitur”. For the Lion, the Wizard awards a medal of Courage set to regal music, and for the Tin Man, a heart shaped clock set to sentimental music is provided. In “Fill-In Awards/I Was Floating Through Space” the Professor declares that he will take Dorothy back to Kansas in his balloon. Professor Marvel’s Theme supports his declaration and joins with the Merry Ole Land Of Oz Theme. At 1:29 we segue it “In Balloon Ascension/Second Cheer” atop the Wizard’s Theme as we see him and Dorothy ready to depart form the town square in his balloon.

In “I Hereby Decree” the Wizard declares that the Scarecrow, with assistance from the Tin Man and Lion, will rule Oz in his stead. Regal horn fare ushers in a medley of their three themes. Everything goes awry when Toto leaps from the basket, with Dorothy in pursuit. A plaintive rendering of her theme speaks to her despair as the balloon ascends without them. Yet all is not lost as Glinda returns upon her theme to save the day by advising that Dorothy has the power within herself to go home. We conclude our magical journey in “Delirious Escape /Delirious Escape Continued/End Title” where Dorothy bids a tearful farewell to her friends and then clicks her heels three times as she repeats, “There is No Place Like Home”. Stothart interpolates the source song and then reprises a sentimental rendering of “Somewhere Over The Rainbow” as Dorothy wakes up in her bed. We are filled with warmth and satisfaction as we see Dorothy reunited with her loving family and friends. We end as we began, with a dramatic rendering of Glinda’s fanfare.

I offer my sincere thanks to Marilee Bradford, Bradley Flanagan, Turner Entertainment and Rhino Movie Music for releasing the multi disc collector’s edition, which showcases this amazing score in its entirety. Regretfully a significant amount of Stothart’s score was edited for the film. This amazing album presentation offers Stothart’s cues in their extended form, in their correct film sequence, and without audible breaks. These two discs contain a total of 82 tracks, 59 of which are the songs and score. The sound was digitally remastered and on balance, is of good quality, however some tracks have a minimal amount of tape hiss, enough that you notice it, but not enough to detract from the listening experience. This film and score are a classic. The songs are fun, the music entertaining, and the marriage of score with film imagery and narrative, just superb. Judy Garland’s signature song “Over The Rainbow” is legend, earns her immortality, and for me is one of the greatest film songs of all time. I highly recommend this Golden Age classic as an essential part of your collection.

Buy the Wizard of Oz soundtrack from the Movie Music UK Store

• Main Title (1:58)
• Trouble In School [Extended Version] (1:20)
• Farmyard [Outtake] (0:36)
• Over The Rainbow (2:44)
• Miss Gulch [Extended Version] (2:44)
• Leaving Home (1:26)
• Crystal Gazing (1:48)
• Cyclone [Extended Version]
• Munchkinland (2:27)
• I’m Not A Witch (0:51)
• Come Out, Come Out… (0:42)
• It Really Was No Miracle (0:59)
• We Thank You Very Sweetly (0:20)
• Ding-Dong! The Witch Is Dead (0:47)
• As Mayor Of The Munchkin City (0:32)
• As Coroner, I Must Aver (0:31)
• Ding-Dong! The Witch Is Dead – Reprise (0:46)
• The Lullaby League (0:23)
• The Lollipop Guild (0:24)
• We Welcome You To Munchkinland (0:39)
• Threatening Witch [Extended Version] (2:12)
• Leaving Munchkinland (1:21)
• Good Fairy Vanishes (0:34)
• Follow The Yellow Brick Road/You’re Off To See The Wizard (0:49)
• The Cornfield (2:46)
• If I Only Had A Brain [Extended Version] (3:44)
• We’re Off To See The Wizard (duo) (0:34)
• The Apple Orchard [Extended Version]
• If I Only Had A Heart [Extended Version] (3:12)
• Witch On Roof [Extended Version] (0:53)
• Bees & Tin Woodsman Lament [Partial Outtake] (1:53)
• We’re Off To See The Wizard (trio) (0:25)
• Into The Forest Of Wild Beasts (1:14)
• The Lion’s Confession [Outtake] (0:48)
• If I Only Had The Nerve (0:41)
• We’re Off To See The Wizard (quartet) (0:26)
• Poppies (1:43)
• The Spell [Extended Version] (3:19)
• Optimistic Voices (1:09)
• Sign On The Gate/The City Gates Open [Extended Version] (1:16)
• The Merry Old Land Of Oz (1:52)
• Change Of The Guard (outtake)/Wizard’s Exit (0:29)
• If I Were King Of The Forest [Extended Version] (4:16)
• At The Gates Of Emerald City [Extended Version] (3:13)
• Magic Smoke Chords (0:36)
• Terrified Lion (0:39)
• The Haunted Forest [Extended Version] (3:13)
• The Jitterbug [Outtake] (3:23)
• The Jitterbug’s Attack [Extended Version] (1:00)
• The Witch’s Castle [Extended Version] (3:08)
• Toto Brings News/Over The Rainbow [Extended Version/Reprise (Outtake)] (3:03)
• March Of The Winkies [Extended Version] (2:46)
• Dorothy’s Rescue [Extended Version] (3:09)
• On The Castle Wall [Extended Version] (2:29)
• Ding-Dong! The Emerald City [Extended Version] (1:14)
• The Wizard’s Expose [Extended Version]/Emerald City Graduation Exercises (3:53)
• Fill-In Awards/I Was Floating Through Space/Balloon Ascension/Second Cheer (1:44)
• I Hereby Decree (4:13)
• Delirious Escape (Extended Version)/Delirious Escape Continued/End Title (3:31)
• Main Title [Alternate] (1:53)
• Over The Rainbow [Partial Take] (0:34)
• Over The Rainbow [Alternate] (2:04)
• Cyclone [Final Film Version] (1:57)
• Munchkinland Insert [Alternate] (0:32)
• I’m Not A Witch [Alternate] (0:50)
• Munchkinland Musical Sequence [Demo] (5:18)
• Ding-Dong! The Witch Is Dead [Alternate] (0:33)
• The Lollipop Guild [Original Munchkin Actors’ Voices] (0:26)
• Follow The Yellow Brick Road/You’re Off To See The Wizard [Orchestral Angles] (0:50)
• If I Only Had A Brain – Unused Dance Music (2:26)
• If I Only Had A Heart – Unused Version (1:15)
• The Lion’s Confession [Outtake/Alternate Arrangement] (1:15)
• Poppies [Alternate Version With Heavenly Choir] (0:39)
• Optimistic Voices [Demo] (0:36)
• Optimistic Voices [Alternate Vocal Arrangement] (1:09)
• The Merry Old Land Of Oz [Orchestral Angles] (1:51)
• If I Were King Of The Forest [Partial Take/Alternate Vocal Tag] (0:44)
• If I Were King Of The Forest [Alternate Vocal Tag] (0:35)
• The Jitterbug [Choreography Rehearsal] (3:24)
• Over The Rainbow – Reprise [Outtake/Alternate Version] (1:31)
• Ding-Dong! Emerald City [Alternate] (1:06)
• End Title [Alternate] (0:18)

Running Time: 130 minutes 33 seconds

Rhino R2-71964 (1939/1995)

Music composed by Herbert Stothart. Conducted by Herbert Stothart and George Stoll. Songs by Harold Arlen and Yip Harburg. Orchestrations by George Bassman, Murray Cutter, Ken Darby, Paul Marquardt and Leo Arnaud. Additional music by George Stoll and Robert Stringer. Recorded and mixed by Peter Decek and M. J. McLaughlin. Edited by William Saracino. Score produced by Nat Finston. Album produced by Marilee Bradford and Bradley Flanagan.

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Wicked witch music wizard of oz

With nine spellbinding songs, a gripping script and a heart-warming story, this brand new musical adaptation of the much-loved book is an ideal ensemble production for 9-13 year olds.

SCROLL DOWN TO LISTEN TO SONG CLIPS AND FOR FURTHER PRODUCT INFORMATION

For a little extra, the editable Word.doc of the full script can also be purchased when the musical and a performance licence are bought, making it easy to adapt and adjust as you need to.

UK School Invoicing Available - email us at [email protected]

• Overview
• Songs
• Buying Options
• Synopsis
• Sample Scripts & Character Info
• Reviews

The music used to depict the Wicked Witch is haunting, dark, and ethereal, creating a sense of foreboding whenever she is on screen or mentioned. The music played during scenes involving the Wicked Witch is crafted to emphasize her wickedness and create a sense of danger. It typically features dissonant tones, minor chords, and heavy percussion to evoke feelings of unease and darkness.

Buying Options

Packs

Book & CD: Book includes full script, character list, curriculum-linked material, sheet music and lyrics. CD includes all songs recorded with children’s voices and full backing tracks.

Book & Digital Downloads: Book as above, with digital downloads that include MP3s of all of the songs and backing tracks, plus a PDF version of the full book. Where available, a complimentary pdf version of the abridged script is also included.

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Licences

Primary Age Performance Licence: You need a performance licence to perform our show to anyone other than children and staff. Our primary age licences are simple - one price allows you to perform the show as many times as you like for a whole year. If you are a secondary school or your cast is 11+, please visit the The Wizard Of Oz - Secondary.

Filming/Streaming Licence: If you plan to film your performance and manufacture DVDs for distribution, stream content on an internet site or on social media, you will also need to purchase this licence.

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Extras

The EDITABLE VERSION of the script in WORD format is not available as a stand-alone purchase. However, it can be purchased alongside one of the Pack options when a performance or filming/streaming licence is also purchased. It is an additional item (script only, no music or production information) and is not a substitute for the main resource.

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These musical cues help establish her as a formidable antagonist in the story, in contrast to the more whimsical and uplifting musical numbers associated with Dorothy and her companions. The most iconic musical theme associated with the Wicked Witch is known as the "Witch's Theme" or "Wicked Witch of the West Music." This distinctive melody is often repeated in different variations throughout the film. It contributes to the overall atmosphere of the story and helps build tension during key moments involving the Wicked Witch. The Wicked Witch's musical theme is just one example of how music can enhance storytelling and characterization in film. With its ominous and haunting melodies, the music associated with the Wicked Witch of the West adds depth to the character and emphasizes her role as a malevolent force in the Land of Oz. Overall, the wicked witch music in "The Wizard of Oz" plays a crucial role in creating a sense of fear and anticipation whenever the Wicked Witch appears on screen. The music heightens the sense of danger and evil associated with her character, contributing to the overall atmosphere of the story..

Reviews for "The Wicked Witch's Musical Motivations in 'The Wizard of Oz"

1. Jennifer - 2 stars: I was really disappointed with "Wicked Witch Music Wizard of Oz". The music was lackluster and uninspiring. I expected it to be a magical experience, but instead, it felt like a cheap imitation. The songs were forgettable, and there was no real depth or emotion in the performances. Overall, it fell flat for me, and I wouldn't recommend it to others.

2. Michael - 1 star: "Wicked Witch Music Wizard of Oz" was a complete letdown. The production quality was low, and the sound mixing was terrible. I could barely hear the actors' voices over the loud orchestration. The acting was also subpar, and the actors seemed disinterested in their roles. It was a waste of time and money, and I regretted going to see it.

3. Sarah - 2 stars: I had high hopes for "Wicked Witch Music Wizard of Oz", but it failed to meet my expectations. The storyline was confusing and lacked coherence. The lyrics of the songs were also poorly written, and many of them felt forced and out of place. The choreography was also lackluster, and the dance numbers were unimpressive. Overall, it was a forgettable and underwhelming experience.

4. David - 1 star: "Wicked Witch Music Wizard of Oz" was a disaster from start to finish. The costumes were cheap and poorly made, and the set design was unimaginative. The performances were lackluster, and the actors seemed unprepared. The whole production felt rushed and sloppy. I was extremely disappointed with this adaptation and wouldn't recommend it to anyone.

5. Emily - 2 stars: I had mixed feelings about "Wicked Witch Music Wizard of Oz". While some of the performances were decent, overall, it lacked creativity and originality. The music felt repetitive, and the songs didn't leave a lasting impact. The production seemed to rely too much on the familiarity of "The Wizard of Oz" without adding anything new or interesting. It was an average adaptation at best and didn't live up to the hype for me.

The Wicked Witch's Musical Transformation in 'The Wizard of Oz