Iconic television shows often feature unforgettable title sequences that remain etched in our memories through their distinct sounds. The evolution of TV show openings has transformed from the memorable tunes of old radio formats into expositional bookmarks that set the tone for what’s to come in a series. For viewers, these opening titles immerse us in a narrative world. As a media composer with over 20 years of experience and a lecturer in screen composition, I have varying attitudes towards opening title music—I may love it, tolerate it, or mute it.
As Succession reaches the end of its fourth and final season, its theme stands out to me. From the onset, the show’s soundtrack exhibits craftsmanship and imagination. The opening visuals of Succession, resembling grainy “family videos,” are paired with a late 19th-century-style piano piece. This composition includes a contrasting melody that occasionally highlights dissonant notes, which composer Nicholas Britell explains as reflecting the family’s off-kilter nature. A classic New York hip-hop drum machine beat grounds the melody’s chaotic and dissonant aspects, hinting at something underhand with a touch of gangster. Britell’s extensive experience in hip-hop production and film scoring is evident as he merges hip-hop beats with classical orchestration.
Britell’s work recalls the fusion of hip-hop beats and art music found in Malcolm McLaren’s 1984 song “Madam Butterfly,” which left a lasting legacy of blending raw hip-hop beats with captivating melodies. Bands like Run DMC and The Beastie Boys drew inspiration from McLaren’s work, and now Britell blends these elements seamlessly in a television format. By broadening the instrumentation to include strings, Britell captures the themes of intrigue within the corporate media establishment of the show. Repeating string sequences, similar to Philip Glass’s layered compositions, build intensity and evoke the workings of industry. When the strings transition into a classical form, they remind us of the show’s grand setting. The dissonant piano then brings us back to the courtroom with a jester’s touch of chaos. Succession’s opening titles uniquely fuse musical duality, embodying absurdity and profound gravitas.
Nicholas Britell describes the collaborative process of shaping the sound of Succession, which began with an early conversation with producer Adam McKay and the show’s creator, Jesse Armstrong. From this dialogue, a chord progression emerged that felt reminiscent of the 1700s. This musical theme reverberates throughout the series, with variations of the main theme appearing in each episode. Britell’s compositions capture both scathing satire and poignant emotional moments, creating a deep emotional connection that has moved me to tears at times. In other instances, the score suggests absurd dark humor through exaggerated and pompous orchestration. Throughout each season, the soundtrack features different instrumental blends and subtle harmonic changes to support a wide range of emotional narratives.
In the first season, you might notice an experimental electric piece akin to post-punk bassist Jah Wobble’s work. In the second season, there’s a Mozart-like lightness. Britell’s continuous evolution of minor motifs and variations on the main theme aligns with the storyline’s progression. The opening theme is woven into many intimate and grand moments, such as Logan Roy’s outbursts over his children’s perceived failings or scenes depicting corporate intrigue. The instrumentation and arrangement of Succession’s soundtrack pay homage to Baroque and Classical symphonic movements as well as the conceptually-driven work of Russian Romantic composer Sergei Rachmaninoff. Britell’s compositions, like his Serenade in E flat or Impromptu No. 1 in C minor, could comfortably sit alongside works such as Mozart’s Fantasia in C minor or Schubert’s 4 Impromptus. Succession’s soundtrack has set a new standard, aspiring to elevate television soundtracks into longer-lasting works worthy of future performances.
As both a lover and composer of art music and beat-driven electronic music, I have thoroughly enjoyed Britell’s score for Succession. I will miss how the music has interacted with the narrative to enrich the viewer’s experience.