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EMBED for wordpress. The theme is used both at the start and at the conclusion of the film. Composers Richard and Johann Strauss are not related. Ligeti admired Kubrick's film, but in addition to being irritated by Kubrick's failure to obtain permission directly from him, he was offended that his music was used in a film soundtrack shared by composers Johann and Richard Strauss.
It is subsequently heard when an ape first learns to use a tool, and when Bowman is transformed into the Star-Child at the end of the film. Zarathustra thus acts as a bookend for the beginning and end of the film, and as a motif signifying evolutionary transformations, first from ape to man, then from man to Star-Child. This piece was originally inspired by the philosopher Nietzsche's book of the same name which alludes briefly to the relationship of ape to man and man to Superman.
The Blue Danube appears in two intricate and extended space travel sequences as well as the closing credits. The first of these is the particularly famous sequence of the PanAm space plane docking at Space Station V.
Ligeti's Requiem is heard three times, all of them during appearances of the monolith. The first is its encounter with apes just before the Zarathustra -accompanied ape discovery of the tool. The second is the monolith's discovery on the Moon, and the third is Bowman's approach to it around Jupiter just before he enters the Star Gate.
No music is heard during the monolith's much briefer final appearance in Dave Bowman's celestial bedroom which immediately precedes the Zarathustra -accompanied transformation of Bowman into the Star-Child. Other music used is Ligeti's Lux Aeterna and an electronically altered form of his Aventures , the last of which was so used without Ligeti's permission and is not listed in the film's credits.
Since the film, Also sprach Zarathustra has been used in many other contexts. It was used by the BBC and by CTV in Canada as the introductory theme music for their television coverage of the Apollo space missions, as well as stage entrance music for multiple acts including Elvis Presley late in his career.
Jazz and rock variants of the theme have also been composed, the most well known being the arrangement by Eumir Deodato itself used in the film Being There. HAL's 'Daisy Bell' also has been frequently used in the comedy industry to denote both humans and machines in an advanced stage of madness.
The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of 'Aventures', used a different recording of 'Also Sprach Zarathustra' than that heard in the film, and a longer excerpt of 'Lux Aeterna' than that in the film.
The soundtrack was a commercial success, reaching the 24th spot at the Billboard , [26] [27] and receiving a RIAA certification of Gold for an excess of , copies. As additional 'bonus tracks' at the end, this CD includes the versions of 'Zarathustra' and 'Lux Aeterna' on the old MGM soundtrack, an unaltered performance of 'Aventures', and a nine-minute compilation of all of Hal's dialogue from the film. The end music credits do not list a conductor and orchestra for 'Also Sprach Zarathustra.
After the movie's successful release, Decca tried to rectify its blunder by re-releasing the recording with an 'As Heard in ' flag printed on the album cover.
John Culshaw recounts the incident in 'Putting the Record Straight' In the meantime, MGM released the 'official soundtrack' L. In the early stages of production, Kubrick had actually commissioned a score for from noted Hollywood composer Alex North, who had written the score for Spartacus and also worked on Dr. North did not know of the abandonment of the score until he saw the film's premiere screening.
In March , MGM became concerned about ' s progress and Kubrick put together a show reel of footage to the ad hoc soundtrack of classical recordings. The studio bosses were delighted with the results and Kubrick decided to use these 'guide pieces' as the final musical soundtrack, and he abandoned North's score.
However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time?
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