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Okay, perhaps 'commentative' was a poor choice. It somehow relates to the film, of course. All I meant was that the way in which "Blue Danube" goes with the film is different from the way the other tracks that Kubrick ended up using did, which tend to have more conventional film/music interaction.
When I was referring to the 'ubiquitous nature' of "On the Beautiful Blue Danube," I meant that it was and remains a fairly popular tune. 1968 audiences may not have known the piece by name, but it was a much more common piece of music than any of the other pieces heard in the film. And, unlike the R. Strauss and Khachaturian pieces, which are mostly short excerpts from longer works, this brings with it its own structure, around which the film has been edited.
And yes, I think that it may well be a sort of ironic use of the piece, bespeaking of how the technological marvels of one generation become taken for granted by the next... as well as reflecting the grace of spaceflight, the creations of Man, and so on. I see no reason why both readings can't co-exist. I mean, it's not like Kubrick hasn't used music ironically elsewhere. He is the guy what made A Clockwork Orange, after all.
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Posted: |
Feb 16, 2007 - 3:53 AM
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By: |
Hellstrom
(Member)
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Here's a revised clip marrying the North with the Orion docking. It's as near to frame accurate as possible (without me going insane), but, because of insoluble variables, don't expect pinpoint accuracy.
http://www.themediamusiccompany.com/space_station_docking3a.wmv
My verdict: North was a genius (some of you might not know it). This is not only beautiful music, it's conceptually brilliant Film Music. His solutions are so inspired and unexpected. It was an amazing stroke to end the final docking sequence with the gentle reeds and low flutes.
I know officially prefer this to the Strauss (well, I always did, but now seeing is believing).
Thanks again, Nick. You've done North and Kubrick proud.
You are welcome, Heath, and thanks for making that available for people to see what the scene is like correctly synched--works a treat, doesn't it?
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Yeah, but who´s to say that using pieces with existing connotations isn´t part of "conventional film/music interaction" as well?
Perhaps we can safely say that it wasn't part of the conventional film/music interaction for 70 mm spectacles of the sixties?
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Nick, thank you for this historic release!
Jon Burlingame's liner notes are superb. Nevertheless I'm puzzled by the printed notes for track 8. The last line on page 13 of the booklet and the first line on page 14 seem to form a non sequitur:
"This was initially planned as 'part 1' of a much longer cue; notations on the score
[turn page]
does not survive, and was not recorded--was to have overlapped part 1."
Is there a line missing?
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Posted: |
Feb 16, 2007 - 9:04 PM
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By: |
Hellstrom
(Member)
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Nick, thank you for this historic release!
Jon Burlingame's liner notes are superb. Nevertheless I'm puzzled by the printed notes for track 8. The last line on page 13 of the booklet and the first line on page 14 seem to form a non sequitur:
"This was initially planned as 'part 1' of a much longer cue; notations on the score
[turn page]
does not survive, and was not recorded--was to have overlapped part 1."
Is there a line missing?
Thanks, George--yes, something appears to have been omitted in the printing...the line should read: "Notations on the score indicate that "Part II," apparently scoring the remainder of the journey--which, if written, does not survive, and was not recorded--was to have overlapped part I."
Although non sequiturs are Jon Burlingame's speciality, I suspect that in this case he'd have preferred our design director Joe Sikoryak not create an extra one for him!
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I know that HAL 9000 would attribute it all to human error, but I like to think that this time it was computer error.
There was a more comic error in the middle of page 2 of the liner notes for the more recent Intrada "Bandolero!" release, where an editor's corrective comments were inadvertently left in: "Faced with an uncertain future, Dee and Mace forge a reconciliation[With whom? Each other? Mention this tension before?], but it is short-lived."
These things happen (it happened to me a few years back), but it's no big deal. The majority of readers--for better or worse--don't notice.
I, for one, love Joe's creative CD designs, especially for the cover of this new 2001 album.
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I'm finally getting a chance to give this a listen this afternoon, now that the worst part of my relocation move is past. It sounds really marvelous! It's much more intimate compared to the rerecording, more low-key. I'm very pleased to add this to my North library. We owe a great deal to Doug, Nick and Intrada for this presentation, and I hope it does well.
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North's Space Station Docking really dates the film and is not very interesting music in its own right. Too contemporaneous and incidental instead of the timeless feel of Strauss. Kubrick was again right.
No, North's cue is just different from the sensibility imparted by Kubrick's use of the Strauss, but the North is perfectly timeless in its own right.
What would have dated the film is electronic "music" on the order of what Robert Wise got from Gil Mellé on the ANDROMEDA STRAIN, or the Barrons delivered for FORBIDDEN PLANET. That's exactly the approach François Truffaut wanted for FAHRENHEIT 451; Bernard Herrmann resisted, and created one of his most memorable and emotionally affecting scores. Today, Tuffaut's film is remembered far less fondly for its shaky dramaturgy than for the alternately brutal and ethereal music Herrmann saw as appropriate for a bleak and cold future.
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Not only does North's Space Docking cue not date the film, it is classic film music - as Mr. Hearn says, it's just different than what you've heard for forty years. It gives the sequence a whole new feel, and not an uninteresting one. And it is, of course, impossible to tell how it would have worked now, forty years on - I said much earlier in this thread, Mr. Kubrick's choices made the film iconic and while one can quibble, they obviously worked. And many of Mr. North's early cues for The Dawn of Man sequence, would not have worked - silence and sfx worked much better.
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I think when the poster above said 'timeless', they meant that it didn't sound like it was scored in the 1960s. I don't know whether that's the best criteria for 'timelessness', but it's certainly one problem Kubrick avoided by sticking to Strauss.
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