![]() ![]() 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. The ongoing craze among orchestras to present films with live soundtracks has split into separate creative strands.
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