![]() Details: _ocr true Addeddate 10:21:27 Betterpdf true Bookreader-defaults mode/1up Boxid IA1660815 Robert Ziegler conducts the Adelaide Symphony Orchestra and the Adelaide Chamber Singers in a live accompaniment to 2001: A Space Odyssey, on 8 and 9 March. I guess when the film starts reacting back, it will be time to go home. I find myself mentally cueing the film, as I would an opera singer, for various cuts and "hit points". It's been a big undertaking and I've now watched the film many dozens of times (I'm still not tired of it). Kubrick used Herbert von Karajan's recordings for the film after a meeting with the director, the eminent conductor stated that Kubrick was "one of the only true geniuses I have ever met".īringing this score to life has been a complete delight for me: it's one of the few films that really justifies the reviving of the score in a live context. Finally, and most famously, Kubrick used what was then a lesser known fanfare that opens Richard Strauss's tone poem Also Sprach Zarathustra, heralding Man's Nietzschean moment of self-realisation. Kubrick's use of Johann Strauss' waltz The Beautiful Blue Danube was a stroke of absolute genius – its giddy, spinning weightlessness perfectly underscoring the effortless orbit of the spaceships around the whirling space stations as they glide between planets. A third work, Lux Aeterna, characterises the cold, silent stillness of infinite outer space. Kubrick strategically used two works – the massive orchestral score Atmospheres, and the Kyrie from his Requiem – as the sound of the unfathomable intelligence embodied in those enigmatic monoliths. Gyorgy Ligeti's eerie, powerful works are milestones of 20th century music. ![]() When Kubrick realised that the North score (which is available in an excellent recording conducted by fellow maestro Jerry Goldsmith) was not going to work, he turned to music of a completely different and surprising kind. The majority of 2001 is, in fact, silent, so the lack of a score left a big part of the film unfinished. I recently worked on Howard Shore's score for The Hobbit, and was conducting at Abbey Road studios just a few weeks before the film's release. One of the hazardous facts of life for a film composer is that the music is usually the final element to be realised. I don't know of many successful film composers who have been spared this experience in the course of their careers – but this was apparently done quite brutally late, during the post-production period. Kubrick wrote the script with Arthur C Clarke, using then ground-breaking special effects and cinematography: the film still looks awesome, in the best sense of that overused word.Īlex North, one of the great film composers, was originally commissioned to write the score – but Kubrick discarded it. ![]() Stanley Kubrick's 2001 is another unique event: a spacey, psychedelic essay on the rise of artificial intelligence, and the strange encounters between space explorers and ancient black monoliths – objects that appear to embody some strange universal intelligence that has affected human evolution. We re-grouped, fixed the film – and finished triumphantly to the sound of a resonant Scottish "Brahhvoooh!" from 007 in the stalls. The score's debut at the Edinburgh Film Festival back in the 1990s (this was pre-digital) was a rocky one: the old acetate catching fire in the projection room mid-performance, with festival president Sean Connery sitting in the house. Live film and music performances have become increasingly popular since Adelaide festival director David Sefton and I first collaborated in the 1990s, on a new score for Hitchcock's early silent hit The Lodger by composer Joby Talbot. ![]()
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