The Vienna Philharmonic began its tradition of performing an annual New Year’s Concert in 1939. Ever since, New Year’s Day and Strauss waltzes have become intertwined in popular imagination. In celebration of a new year, here is Johann Strauss II’s The Blue Danube from last year’s concert, conducted by Franz Welser-Möst. Austrian conductor Welser-Möst is currently the Music Director of the Cleveland Orchestra. You may notice that in the Viennese style of playing waltzes the second beat comes slightly early and is stretched (One,TWO-three):
[typography font=”Cantarell” size=”28″ size_format=”px”]Shaping a Film to Its Score[/typography]
If you’re a film fan, The Blue Danube probably brings to mind Stanley Kubrick’s 1968 masterpiece, 2001: A Space Odyssey, a work he described as “a mythological documentary” and “a controlled dream.” The film delves into issues of technology and human evolution. In one scene a tribe of early hominids discovers that an animal bone can be used as a weapon as well as a tool. It’s a crucial moment of uniquely human ingenuity. An ape-man throws the bone into the air and it suddenly turns into a Pan-Am spaceplane, cruising to a space station which is orbiting earth millions of years later. Both the bone and the spaceplane represent technology. Have we really come so far?
Typically, composers write film scores after a movie has been made. 2001: A Space Odyssey may be a rare example of a film which was influenced by its music. Kubrick began working on the film with a “temporary track” of existing classical music. Meanwhile, the respected Hollywood composer Alex North began working on the score. It wasn’t until late in the process that North realized, to his disappointment and frustration, that Kubrick had abandoned the entire original score in favor of existing music, which included Richard Strauss’s Also sprach Zarathustra and music by twentieth century composer György Ligeti. You can get a sense of what the movie would have been like with North’s unused score here and here.
In Kubrick’s film the grace and elegance of Strauss’s waltz accompanies spinning satellites:
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Like other aspects of 2001, there are many contrasting interpretations regarding how the music is functioning in the film. Clearly, Kubrick was looking for something more than background music. In many scenes dialogue takes a back seat to music and image. For a complete analysis of the role of music in the film, read David W. Patterson’s Music, Structure and Metaphor in Stanley Kubrick’s 2001: A Space Odyssey.
Music in Kubrick’s films is used inventively and narratively and flamboyantly, causing the viewer to listen so that he can see. -Vivian Sobchak