’”Īfter the BBC Music article had gone to print, I received an e-mail from the conductor John Mauceri, who has recorded the music from “2001.” “In short,” Mauceri summarized, “Kubrick and his music editor played with irony ( Blue Danube) and gravity-free descriptive (Ligeti) – and of course straight-ahead musical lexicon for immense power as well as empathy for loneliness in traditional classical music terms (Strauss and Khachaturian).” “Or towards the end where is an old man and lying on his bed, you think, ‘Wow man, that’s 20 or 30 minutes. “There are long silences where the orchestra’s sitting there and all you hear is the astronaut breathing,” he said. Lubman added that after he conducted a live-with-orchestra performance of “2001” at the Hollywood Bowl, he was struck by how Kubrick incorporates silence. The couple times I’ve done it, what I always said to the choir, ‘Listen, the important thing here is the intention of the music and not so much whether we hear a perfect seven against five,’ or ‘your A-flat was a little too close to your A-natural.’ Because part of what makes that original recording so effective, so disturbing, is this was brand-new music and the height of difficulty.” “There are things that are a little bit microtonal-sounding but it’s not actually written that way,” Lubman said. Conductor Brad Lubman notes that because Ligeti’s music was very new – and uncharted territory for singers in 1968 – the performances on the soundtrack made the score seem more modern than the composer had intended. One music-geek side-note about the Requiem. The Requiem becomes a signature motif of the mysterious monolith (appearing with Ligeti’s Lux Aeterna), and Atmosphères accompanies astronaut David Bowman’s journey into the psychedelic star gate. We first hear Atmospheres against a black screen in the film’s opening. Kubrick also brought György Ligeti mainstream attention by using the Hungarian modernist’s music to underscore the film’s journeys into the unknown and bizarre. Strauss Jr.’s Blue Danube Waltz was thus an ironic gesture, linking that future to 19th-century Vienna and highlighting the swirling grace and elegance of the universe. At the time of the film’s premiere – 50 years ago this April – sci-fi soundtracks were frequently of a “bloop-bleep” variety, using synthesizers to envision technological music of the future. In the March 2018 issue of BBC Music Magazine, I look at how director Stanley Kubrick threw out sci-fi music conventions in “2001” by using works by Richard Strauss, Johann Strauss, Jr., Khachaturian and Ligeti. On the flip side are films that place music at the forefront, including “On the Waterfront” (music by Leonard Bernstein), “The Red Violin” (John Corigliano), and most significantly, “ 2001: A Space Odyssey.” One is focused on recent blockbusters where music is of a more secondary appeal: that’s arguably the case with the “Home Alone” franchise or the later “Harry Potter” films. Adaptive_ocr true Addeddate 22:10:19 Betterpdf true Bookreader-defaults mode/1up Boxid IA1569716 Catalog_time 466 Condition Very Good Condition-visual Good Country US Derive_submittime 22:10:05 Disccount 1 External-identifierĬontemporary Identifier lp_2001-a-space-odyssey-music-from-the-m_various-bavarian-radio-orchestra-berlin Identifier-ark ark:/13960/s2fxxf0kbs4 Lineage Technics SL1200MK5 Turntable + Audio-Technica AT95e cartridge > Radio Design Labs EZ-PH1 phono preamp > Focusrite Scarlett 2i2 Ocr tesseract 5.2.0-1-gc42a Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8892 Ocr_module_version 0.0.18 Ocr_parameters -l eng Original-ppi 1200 Pages 5 Pdf_module_version 0.0.20 Ppi 600 Ripping_date 20221024173607 Ripping_operator Ripping_scanner archivelp-rip-cebu03 Ripping_software_version ArchiveCD Version 2.2.73lp Ripping_stylus archivelp-rip-cebu03-20220729-461643ed Ripping_time 2598 Scandate 20221015122725 Scanner archivelp-cat-cebu01 Scanningcenter cebu Size 12 Software_version ArchiveCD Version 2.2.The ongoing craze among orchestras to present films with live soundtracks has split into separate creative strands.
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