Listening to Stanley Kubrick (48 page)

Read Listening to Stanley Kubrick Online

Authors: Christine Lee Gengaro

Two Track #5 “Wind and Textures”

  1. Long wind—first low then “Stifled,” then full with soft “moaning”
  2. Shorter, outdoor, nastier version, with shimmer
  3. Indoor brooding wind-atmosphere
  4. Outdoor shimmery wind and efx
  5. “The Snow”—wind with low Dies Irae
  6. Danny and Wendy play in snow—wind and glassy and melancholy
  7. Long bed—very wind-like and neutral
  8. Long bed—softly shifting and complex
  9. Long bed—neutral and shifting
  10. Five chromatic cluster 16-voiced polyphonic performances (sample mixes only) (very good sounds built to suit given scenes)

Two Track #6 “Piano and Autoharp efx and synth”

Side A

  1. fairly long, wide spaces very scary squeals and squeaks—ghosts
  2. Three fat “swoops” as on “Ballroom” cues
  3. Two large heavy crashes
  4. High pitched shining/shimmer efx
  5. Polymoog “Blood Bath” Grady twins bursts

Side B

  1. Many Polymoog and synthesizer passages on “Dies Irae and miscel. Colors……(demo material) (for pos. extension)
  2. 4 piano-renderings of “Dies Irae”

Wendy Carlos:
Rediscovering Lost Scores, Volume I
(2005, East Side Digital)

  1. Colorado—‘The Shining’
  2. The Rocky Mountains—‘The Shining’
  3. Chase Music—‘The Shining’
  4. Nocturnal Valse Triste—‘The Shining’
  5. Greetings Ghosties—‘The Shining’
  6. Horror Show—‘The Shining’
  7. A Haunted Waltz—‘The Shining’
  8. Psychic Shout #237—‘The Shining’
  9. Danny—‘The Shining’
  10. Heartbeats And Worry—‘The Shining’
  11. Subliminal Ballroom—‘The Shining’
  12. Thought Clusters—‘The Shining’
  13. A Ghost Piano—‘The Shining’
  14. Visitors—‘The Shining’
  15. Dark Winds and Rustles—‘The Shining’
  16. Bumps in the Wind—‘The Shining’
  17. Setting with Medea—‘The Shining’
  18. Two Polymoog Improvisations—‘The Shining’
  19. Fanfare and Drunken ‘Dies’—‘The Shining’
  20. Clockworks (Bloody Elevators)—‘The Shining’
  21. Danny Bells Ascending—‘The Shining’
  22. Postlude—‘The Shining’
  23. Stately Purcell—‘Clockwork Orange’
  24. Pop Purcell—‘Clockwork Orange’
  25. Trumpet Voluntary—‘The Shining’
  26. The Children of Peru—‘UNICEF Films’
  27. Shanty Town and Farewell—‘UNICEF Films’
  28. Daycare and the Colonel—‘UNICEF Films’
  29. Two Distant Walks—‘UNICEF Films’
  30. Ethiopian Life—‘UNICEF Films’
  31. Tanzanian Scenes—‘UNICEF Films’
  32. Three Hopeful Places—‘UNICEF Films’

Wendy Carlos:
Rediscovering Lost Scores, Volume II
(2005, East Side Digital)

  1. Shining Title Music—‘The Shining’
  2. Paraphrase for ‘Cello—‘The Shining’
  3. Where’s Jack?—‘The Shining’
  4. The Overlook—‘The Shining’
  5. Psychic—‘The Shining’
  6. Day of Wrath—‘The Shining’
  7. Paraphrase For Brass—‘The Shining’
  8. Title Music ‘Dies’—‘The Shining’
  9. Clockworks ‘Dies’—‘The Shining’
  10. Creation of Tron Vol. I—‘Tron’
  11. Creation of Tron Vol. II—‘Tron’
  12. Lightcycle Games—‘Tron’
  13. Anthem (Studio Version)—‘Tron’
  14. Little Interludes—‘Tron’
  15. Trinitron—‘Tron
  16. Visit to a Morgue—‘Split Second’
  17. Return to the Morgue—‘Split Second’
  18. Woundings Title Music—‘Woundings’
  19. Angela’s Walk—‘Woundings’
  20. Jimmy—‘Woundings’
  21. Louise—‘Woundings’
  22. Doug Does Angela—‘Woundings’
  23. Scattering Ashes—‘Woundings’
  24. Angela’s Aftermath—‘Woundings’
  25. Jimmy Kills Louise—‘Woundings’
  26. In a Cemetery—‘Woundings’
  27. Fly Away and End—‘Woundings’
  28. Jiffy Test: Bee Dee Bei Mir—From Two Dolby Demos
  29. Listen: Tannhauser—From Two Dolby Demos

Chapter 7: Complete Track Lists from
Eyes Wide Shut

Music from the Motion Picture Eyes Wide Shut
(1999, Reprise)

  1. Musica Ricercata, II (Mesto, rigido e cerimoniale), György Ligeti; Dominic Harlan
  2. Waltz 2 From Jazz Suite [sic], Dmitri Shostakovich, The Royal Concertgebouw Orchestra, Conducted by Riccardo Chailly
  3. Baby Did a Bad, Bad Thing, Chris Isaak
  4. When I Fall in Love, Victor Young and Edward Heyman, The Victor Silvester Orchestra
  5. I Got it Bad (and That Ain’t Good), Duke Ellington and Paul Francis Webster; The Oscar Peterson Trio
  6. Naval Officer, Jocelyn Pook; Jocelyn Pook, Conducted by Harvey Brough
  7. The Dream, Jocelyn Pook; Jocelyn Pook, Conducted by Harvey Brough
  8. Masked Ball, Jocelyn Pook
  9. Migrations, Jocelyn Pook; Jocelyn Pook and the Jocelyn Pook Ensemble with Manickam Yogeswaran, Kelsey Michael and Harvey Brough
  10. If I Had You, Shapiro, Campbell, and Connelly; Roy Gerson
  11. Strangers in the Night, Snyder, Singleton, and Kaempfert, The Peter Hughes Orchestra
  12. Blame It on My Youth, Oscar Levant and Edward Heyman; Brad Mehldau
  13. Grey Clouds [Nuages Gris], Franz Liszt; Dominic Harlan
  14. Musica Ricercata, II (Mesto, rigido e cerimoniale) [Reprise], György Ligeti; Dominic Harlan

Notes

1. The writers of this song are listed as Carter and Dewitt. On promotional versions of the release, the artist is listed as “Dr. Strangelove and the Fallouts.”

2.
Billboard
22 June 1968, 48.

3. Joe Sikoryak, “Great Film Scores,”
Film Score Monthly
5, no. 9 (November/December 2000): 36.

4.
Billboard
19 April 1969, 35.

5.
Billboard
1 July 1972, 21.

6.
Billboard
4 March 1972, 41.

7. The album peaked at position thirty-four. Joel Whitburn,
Billboard: Top Albums 1955–2001
(Menomonee Falls, WI: Record Research, Inc., 2001), 1002.

8.
Walter Carlos’ Clockwork Orange
peaked at 146 on the Billboard chart. Joel Whitburn,
Billboard: Top Albums 1955–2001
(Menomonee Falls, WI: Record Research, Inc., 2001),134.

Bibliography

Adorno, Theodor, and Hans Eisler.
Composing for the Films
. London: Athelone Press, 1994.

Agel, Jerome, ed.
The Making of Kubrick’s 2001
. New York: Signet, 1970.

Applegate, Celia, and Pamela Potter. “Germans as the ‘People of Music’: Genealogy of an Identity.” In
Music and German National Identity
, ed. Celia Applegate and Pamela Potter, 1–35. Chicago: University of Chicago Press, 2002.

Arnold, Ben. “Piano Music: 1861–1886.” In
The Liszt Companion
, ed. Ben Arnold, 139–177. Westport, CT: Greenwood Press, 2002, 140.

Barham, Jeremy. “Incorporating Monsters: Music as Context, Character and Construction in Kubrick’s
The Shining
.” In
Terror Tracks: Music, Sound and Horror Cinema
, ed. Philip Hayward, 137–161. London: Oakville, 2009.

Baxter, John.
Stanley Kubrick: A Biography
. New York: Carroll and Graf, 1997.

Bellettini, Lorenzo. “Freud’s Contribution to Arthur Schnitzler’s Prose Style.”
Rocky Mountain E-Review of Language and Literature
61, no. 2. Accessed 3 June 2012.
http://rmmla.wsu.edu/ereview/61.2/articles/bellettini.asp
.

Bender, John. “Farewell to the Master.”
Film Score Monthly
4, no. 8 (September/October 1999): 24–27, 48.

Berges, Marshal. Interview with Leonard Rosenman. “Home Q&A with Marshal Berges.”
Los Angeles Times Home Magazine
, 37–40.

Berlioz, Hector, and Richard Strauss.
Treatise on Instrumentation
. Translated by Theodore Front. New York: Dover Publications, 1991.

Blakemore, William. “Kubrick‘s
Shining
Secret: Film’s Hidden Horror Is the Murder of the Indian.”
Washington Post,
July 12, 1987. Accessed 12 April 2012.
http://williamblakemore.com/Blakemore-%20Kubrick%20Shining.pdf
.

Bodde, Gerrit.
Musik in den Filmen von Stanley Kubrick
. Osnabruck: Der Andere Verlag, 2002.

Bond, Jeff. “A Clockwork Composer: Wendy Carlos.”
Film Score Monthly
4, no. 3 (March 1999): 18–23.

———. “Once in a Lifetime.”
Film Score Monthly
4, no. 8 (September/October 1999): 24–25.

Brantley, Ben. Review of
Blue Room
, Cort Theater, New York.
New York Times
, December 14, 1998. Accessed 7 June 2012.
http://theater.nytimes.com/mem/theater/treview.html?html_title=&tols_title=BLUE+ROOM,+THE+(PLAY)&pdate=19981214&byline=By+BEN+BRANTLEY&id=1077011432284
.

Brown, Garrett. “The Steadicam and
The Shining
.”
American Cinematographer
61, no. 8 (August 1980): 786–789.

Brown, Royal S. “Film and Classical Music.” In
Film and the Arts in Symbiosis: A Resource Guide
, ed. Gary R. Edgerton, 165–215. New York: Greenwood Press, 1988.

———.
Overtones and Undertones: Reading Film Music.
Berkeley: University of California Press, 1994.

Buch, Esteban.
Beethoven’s Ninth: A Political History.
Translated by Richard Miller. Chicago: University of Chicago Press, 1999.

Burgess, Anthony.
A Clockwork Orange
. New York: Ballantine Books, 1962; reprint, New York: Norton, 1986.

———. “On the Hopelessness of Turning Good Books into Films.”
New York Times
April 20, 1975, 2, 15.

———.
This Man and Music
. New York: McGraw-Hill, 1982.

Caldwell, John, and Malcolm Boyd. “Dies Irae.” In
The New Grove Dictionary of Music and Musicians
, ed. Stanley Sadie, 332–333. London: Macmillan, 2001.

Chase, Robert.
Dies Irae: A Guide to Requiem Music
. Lanham, MD: Scarecrow Press, 2003.

Chion, Michel.
Eyes Wide Shut
. Translated by Trista Selous. London: British Film Institute, 2002.

———.
Kubrick’s Cinema Odyssey
. Translated by Claudia Gorbman. London: BFI Publishing, 2001.

Ciment, Michel.
Kubrick: The Definitive Edition.
Translated by Gilbert Adair. New York: Faber and Faber, 1999.

Clarke, Arthur C.
2001: A Space Odyssey
. New York: Penguin, 1993.

———.
The Lost Worlds of 2001
. New York: Signet Classics, 1972.

Clarke, Jim. “‘Homesick for Sin’: Why Burgess Revisited
A Clockwork Orange
.” In
Portraits of the Artist in
A Clockwork Orange:
Papers and Music from the Anthony Burgess Centre’s International Symposium ‘The Avatars of
A Clockwork Orange’ December 7–8, 2001, ed. Emmanuel Vernadakis and Graham Woodroffe, 69–78. Angers, France: Presses de l’Université d’Angers, 2003.

Clarke, Roger. “Putting the Knife into Stanley.”
The Independent
August 2, 1999. Accessed 7 June 2012.
http://www.independent.co.uk/arts-entertainment/monday-books-putting-the-knife-into-stanley-1110183.html
.

Cloud, David, and Leslie Zador. “Alex North Interview: The Missing Score to 2001.”
Los Angeles Free Press,
November 12, 1970, 42, 39.

Cohen, Richard. “A Practical Guide to Re-Hearing
2001
.”
New York Review of Science Fiction
12, no. 7 (2000): 10–14.

Cocks, Geoffrey. “Death by Typewriter: Stanley Kubrick, the Holocaust, and
The Shining
.” In
Depth of Field: Stanley Kubrick, Film, and the Uses of History
, ed. Geoffrey Cocks, James Diedrick, and Glenn Perusek, 185–217. Madison: University of Wisconsin Press, 2006.

———.
The Wolf at the Door: Stanley Kubrick, History, and the Holocaust
. New York: Peter Lang, 2004.

Code, David. “Rehearing
The Shining
: Musical Undercurrents in the Overlook Hotel.” In
Music in the Horror Film: Listening to Fear
, ed. Neil William Lerner, 133–150. New York: Routledge, 2010.

Cook, David A. “American Horror:
The Shining
.”
Film Literature Quarterly
12, no.1 (1984): 2–4.

———.
A History of Narrative Film
. 3rd ed. New York: W. W. Norton, 1981.

Cook, Nicholas.
Beethoven: Symphony No. 9.
Cambridge: Cambridge University Press, 1993.

Cooke, Mervyn.
A History of Film Music
. New York: Cambridge University Press, 2005.

Cosgrove, Peter. “The Cinema of Attractions and the Novel in
Barry Lyndon
and
Tom Jones
.” In
Eighteenth-Century Fiction on Screen
, ed. Robert Mayer, 16–34. Cambridge: Cambridge University Press, 2002.

Crilly, Ciarán. “The Bigger Picture: Ligeti’s Music and the Films of Stanley Kubrick.” In
György Ligeti: Of Foreign Lands and Strange Sounds
, ed. Louise Duschesneau and Wolfgang Marx, 245–254. Woodbridge: Bydell Press, 2011.

Crocker, Richard L., John Caldwell, and Alejandro E. Planchart. “Sequence.” In
The New Grove Dictionary of Music and Musicians
, ed. Stanley Sadie, 91–107. London: Macmillan, 2001.

Crone, Rainer.
Stanley Kubrick: Drama and Shadows: Photographs 1945–1950.
London: Phaidon, 2005.

Davis, Victor. “Film Boost for Chieftans.”
Daily Express
(London), September 30, 1975.

Dawson, Jan. “A Clockwork Orange.”
British Film Institute Monthly Film Bulletin
39, 457 (February 1972): 28–29.

Del Mar, Norman.
Richard Strauss: A Critical Commentary of His Life and Work, Vol I.
Ithaca, NY: Cornell University Press, 1986.

Dennis, David B.
Beethoven in German Politics 1870–1989.
New Haven, CT: Yale University Press, 1996.

———. “‘Honor Your German Masters’: The Use and Abuse of ‘Classical’ Composers in Nazi Propaganda.”
Journal of Political and Military Sociology
30, 2 (Winter 2002): 273–295.

DeVries, Daniel.
The Films of Stanley Kubrick
. Grand Rapids, MI: Eerdmans, 1973.

Donnelly, K. J.
The Spectre of Sound: Music in Film and Television
. London: BFI, 2005.

Dorfman, Ariel.
Death and the Maiden.
New York: Penguin, 1992.

Ebsworth, J[oseph] Woodfall, ed.
Choyce Drollery: Songs and Sonnets
: To which are added the extra songs of
Merry Drollery
, 1661, and
An Antidote Against Melancholy
, 1661. Boston, Lincolnshire: Printed by Robert Roberts, Strait Bar-Gate. 1886. From the Ebook and Texts Archive from the University of Toronto Robarts Library. Accessed 20 January 2012.
www.archive.org/details/choycedrolleryso00ebswuoft
.

Fay, Laurel E.
Shostakovich: A Life.
New York: Oxford University Press, 2000.

Ferrara, Serena.
Steadicam: Techniques and Aesthetics
. Oxford: Focal Press, 2000.

Fielding, Raymond.
The March of Time: 1935–1951.
New York: Oxford University Press, 1978.

Flinn, Caryl.
Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music
. Princeton, NJ: Princeton University Press, 1992.

Foreman, Lewis. “The Winnowing-Fan: British Music in Wartime.” In
Oh, My Horses! Elgar and the Great War,
ed. Lewis Foreman, 89–131. Rickmansworth: Elgar Enterprises, 2001.

Geduld, Carolyn.
Film Guide to 2001: A Space Odyssey
. Bloomington: Indiana University Press, 1973.

Gengaro, Christine. “It Was Lovely Music That Came to My Aid: Music’s Contribution to the Narrative of the Novel, Film and Play
A Clockwork Orange
.” Ph.D. Dissertation, University of Southern California, 2005.

Gorbman, Claudia, “Ears Wide Open: Kubrick’s Music.” In
Changing Tunes: The Use of Pre-Existing Music in Film
, ed. Phil Powrie and Robynn Stilwell, 3–18. Burlington, VT: Ashgate, 2006.

———.
Unheard Melodies: Narrative Film Music
. Bloomington: Indiana University Press, 1987.

Grant, Barry Keith. “Of Men and Monoliths: Science Fiction, Gender, and
2001: A Space Odyssey
.” In
2001: A Space Odyssey: New Essays
, ed. Robert Kolker, 69–86. New York: Oxford University Press, 2006.

Griffiths, Paul. “György Ligeti.” In
The New Grove Dictionary of Music and Musicians
, ed. Stanley Sadie, 690–696. London: Macmillan, 2001.

Gross, Larry. “Too Late the Hero.”
Sight and Sound
9, no. 9 (September 23, 1999): 20–23.

Gumenik, Arthur. “
A Clockwork Orange
: Novel into Film.”
Film Heritage
7, no. 4 (Summer 1972): 7–18.

Harris, Thomas.
The Silence of the Lambs
. New York: St. Martin’s Press, 1988.

Heimerdinger, Julia. “‘I have been compromised. I am now fighting against it.’: Ligeti vs. Kubrick and the Music for
2001: A Space Odyssey
.”
Journal of Film Music
3, no. 2 (2011): 127–143.

Helm, Eugene, and Derek McCullough. “Frederick II.” In
The New Grove Dictionary of Music and Musicians
, ed. Stanley Sadie, 218–219. London: Macmillan, 2001.

Henderson, Sonya Shoilevska.
Alex North, Film Composer
. Jefferson, NC: McFarland, 1993.

Hickman, Roger.
Reel Music: Exploring 100 Years of Film Music
. New York: Norton, 2006.

Hoile, Christopher. “The Uncanny and the Fairy Tale in Kubrick’s
The Shining
.”
Literature Film Quarterly
12, no. 1 (1984): 5–12.

Howard, James.
Stanley Kubrick Companion
. London: B.T. Batsford, 1999.

Hughes, David.
The Complete Kubrick
. London: Virgin Publishing, 2000.

Hughes, Robert. “The Décor of Tomorrow’s Hell.”
Time Magazine,
December 27, 1971, reprinted in Mario Falsetto, ed.
Perspectives on Stanley Kubrick
, 185–186. New York: G.K. Hall, 1996.

Ito, Robert. “Cracking the Code in ‘Heeere’s Johnny!’”
New York Times
, January 29, 2012. Accessed 12 February 2012.
http://www.nytimes.com/2012/01/29/movies/room-237–documentary-with-theories-about-the-shining.html
.

Jackson, Neil. “Stanley Kubrick.” In
Contemporary North American Film Directors: A Wallflower Critical Guide
, ed. Yoram Allon, Del Cullen, and Hannah Patterson, 263–265. London: Wallflower, 2000.

James, Nick. “At Home with the Kubricks.”
Sight and Sound
9, no. 9 (September 1999): 12–18.

Johnson, Sam. “‘What’s It Going to Be Then, Eh?’ Deciphering Adolescent Violence and Adult Corruption in
A Clockwork Orange
.” In
Portraits of the Artist in
A Clockwork Orange
Papers and Music from the Anthony Burgess Centre’s International Symposium ‘The Avatars of
A Clockwork Orange,
’
ed. Emmanuel Vernadakis and Graham Woodroffe, 27–40. Angers, France: Presses de l’Universite d’Angers, 2003.

Jordan, Randolph. “The Mask That Conceals Nothing: On the Concepts of Marital Fidelity and the Lo-Fi Soundscape in
Eyes Wide Shut
.” In
Stanley Kubrick: Essays on His Films and Legacy
, ed. Gary D. Rhodes, 157–169. Jefferson, NC: McFarland, 2008.

Kael, Pauline.
Deeper into Movies
. Boston: Little, Brown, 1973.

———.
Going Steady
. Boston: Little, Brown, 1968.

Kagan, Norman.
The Cinema of Stanley Kubrick
. New York: Holt, Rinehart and Winston, 1972.

Kinderman, William.
Beethoven.
Oxford: Oxford University Press, 1995.

King, Stephen.
The Shining.
New York: Pocket Books, 1977.

Kracauer, Siegfried,
Theory of Film: The Redemption of Physical Reality
. New York: Oxford University Press, 1960.

Lehmann, Hans-Thies. “Film/Theatre: Masks/Identities in
Eyes Wide Shut
.” In
Stanley Kubrick Catalogue
, 2nd ed., 234–243. Frankfurt am Main: Deutsches Filmmuseum, 2007.

Other books

Surfacing by Margaret Atwood
Baby Momma Drama by Weber, Carl
The Circle by Peter Lovesey
The King's Mistress by Emma Campion
Twice in a Lifetime by Marta Perry
Wild by Lincoln Crisler
Wings of Lomay by Walls, Devri
G03 - Resolution by Denise Mina
Sequence by Adam Moon