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Two by Andris Nelsons (Leipzig and Birmingham), and one by Djong Victorin Yu (Philharmonia).
I have always felt badly about the way Kubrick treated Alex North.
However, I have listened to the entire score North composed, and it is competent but not magical. I think it would have been fine for a different space movie than the one Kubrick co-wrote and directed.
I think that the genre-defying thing about the movie 2001 is that it probably has the smallest amount of dialog of any movie ever, at least among movies that are not about Trappist monasteries that still follow the Rule of Silence. Only in the middle segment (the Space Station and the Moon) is there the normal kind of dialog you expect in a movie.
The first part is grunting apes, and the last part is Jupiter and then Hyperspace.
So, Kubric does not use music to reinforce the action or amp up our reaction to the action. And, AFAIK, there is never any music when there is dialog. The trip from the Space Station to the Moon in the Pan Am space vehicle has no dialog.
So, IMHO, the choice of Khachaturian's "Gayne" Adagio is inspired, because it almost comments upon not only the emptiness of space, but the fact that the two awake crew members don't talk or even acknowledge each other in that scene.
FWIW & YMMV.
john
Follow Ups:
Personally speaking, I do not enjoy diving into Sprachs of any type or gender...
But I support those who do.
Fritz Reiner is my goto Also Sprach Zarathustra. I have both living Stereos and the mono too.
Nt
nt
Shahinians Rule!
jm
Very little dialogue in it. They speak Mayan which gets subtitled. My favorite translation is when this guy gets bitten by a snake. There is a lot of dialogue in Mayan, then the subtitle says, "He's Fuc-ed".
The first time I really heard that was at a way old CES show at McCormick place in Chicago.
On the trade show floor there were several different sets of large speakers i was gawking at and on the end of the last day, the owner, a guy named Gene said come back at 4.
This was Gene Cerwinski of Cerwin Vega displaying his large concert /theater speakers and at 4 he played that tune at full tilt. An Andy Fran guy was yelling at him to turn it off and you couldn't hear a word he said.
At the crescendo's end, Gene pulled the 4 cords in the outlet box and as the sound died, applause came from all around the hall.
That gave me goose bumps that had a lasting effect.
"applause came from all around the hall. "
Because the painful sound quality had finally ended? ;)
*********
We are inclusive and diverse, but dissent will not be tolerated.
Could be, it was loud for sure but that was also a show where no audio on the floor was allowed which the mfr's never liked.
I was impressed to see the drivers and the horns used for the movie earth quake.
It turned out later on that a company not far from my old house called Hepner made a lot of the drivers.
was in Atlanta around 1973. It was held downtown with quite a few exhibitors.
There was a pair of ultra cool Infinity Servo-Statiks but alas they were just for show.
Cerwin-Vega was demonstrating one of their horn systems playing the Lalo Shifrin theme from Mission Impossible . My trousers were flopping in the breeze. Nothing resembling reality, but impressive nevertheless.
When I was a teen, Advent referenced it in their brochure as to how the speaker could reproduce the 32 hz opening pedal."The low-frequency capabilities of the Advent Loudspeaker are the usable equivalent of any speaker's. Specifically, it will reproduce the 30 Hz organ pedal note that begins Richard Strauss's Also Sprach Zarathustra as room shakingly as one could ask, providing, as in the case of London CS-6609, the note is actually present on the record. "
While the Einleitung is what most folks recognize, I enjoy the entire tone poem.I now have several versions but this one remains my favorite musically.
Edits: 05/03/24
> 2001 is that it probably has the smallest amount of dialog of any movie ever, at least among movies
Have you seen any of the films that Philip Glass wrote music for?
Take a look at Koyanniqatsi or Pawaqqatsi. Not sure if there's a single human voice on either.
I went to a concert at the Royal Festival Hall, London many years ago where Glass and his musicians played the music while the film (no sound) was shown on large screens.
Koyanniqatsi has mesmerizing visual's and music and it turned out i knew the guy who mixed some of it, the late Fred Ampel. When i saw his name in the credits I asked him about that and he was very humble and seemed surprised i had the disc.
There are some sampled voices in it but no direct dialogue.
I think the end scene is one of the most moving things i have ever seen.
Keep in mind at launch, the sound is so loud it is lethal for over a mile and the video cameras were in water cooled housings.
What a nice warm fire and what a long fall.
I've heard the Nelsons/Leipzig recording - it's in Dolby Atmos on Apple Music and I love it. Apple Music also has the Nelsons/Birmingham recording and (surprisingly) the Djong Victorin Yu / Philharmonia recording, but neither of these are available in Atmos. Other Atmos recordings of the work on Apple Music (none of which I've heard yet) include Jansons/Concertgebouw, Roth/LSO, Santu/Philharmonia, and Chailly/Lucerne.
Others in my own faves list include: Steinberg/BSO in its quad incarnation on blu-ray and Kempe/Sk Dresden, also in quad on a DVD-Audio. Of the two Reiner/Chicago recordings, I prefer the later 1962 version - mainly because the organ and the orchestra are so out of tune with each other in the 1954 recording! No wonder they wanted to do a remake only eight years later!
In addition to Reiner (like Chris, I prefer the 1962 version because the organ is in tune--and the sound is better, too) and Steinberg/BSO, check out the finely recorded performance by Urbanski and the NDR Elbphilharmonie (Alpha). It's on Apple Classical (hi-res lossless, but no Atmos).
I have a redbook-quality rip of Steinberg's from a DG "Original Source" LP; the sound is richer than any of the streamed versions I've heard.
One to avoid is LSO/Roth, a tedious performance with dry Barbican sound.
I share your love of Steinberg BSO... those were the (pre-Ozawa) days, my friends!!! Joseph Silverstein's Concertmaster solos are a masterclass.
BTW, in the early 2000s, the BSO bit the bullet and had the organ taken apart piece by piece and restored in Connecticut, and then taken apart again and reinstalled, after the renovation was approved.
I can only imagine how much that cost!
You can hear the difference in the (bootleg) recordings of Sir Colin Davis's two "Dreams of Gerontius."
john
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