Schubert's piano trio in e flat in Barry Lyndon, Stanley Kubrick, 1975

Résumé du document

In this paper, I will analyze the use of Schubert's piano trio in e flat op. 100 in Barry Lyndon, a 1975 Stanley Kubrick's film. First, I will consider the music independently of its original context. In a second part, I will see how Kubrick uses it in its film, and whether the music fits in the film. Finally, I will consider how one's vision of the scene is affected by knowledge of the music, and reconsider Max Steiner's conception that classical music should not be used in movies. Dated November 1827, the Schubert's piano trio in e flat was one of his last compositions. It was composed only several weeks after his piano trio no. 1 in b flat, at the request of a composer's close friend, Josef von Spaun, for Spaun's wedding.

Extraits

[...] A. Westrup, BBC Music Guides Schubert and his work, a biographical dictionary, Peter Clive, Clarendon Press. Oxford Schubert, the music and the man, Brian Newbould, University of California Press Schubert and his work, a biographical dictionary p The music of Schubert, p. 103-104 Kubrick on Barry Lyndon - An interview with Michel Ciment Stanley Kubrick a narrative and stylistic analysis, p. [...]

[...] Schubert's piano trio in e flat in Barry Lyndon, Stanley Kubrick In this paper, I will analyze the use of Schubert's piano trio in e flat op in Barry Lyndon, a 1975 Stanley Kubrick's film. First, I will consider the music independently of its original context. In a second part, I will see how Kubrick uses it in its film, and whether the music fits in the film. Finally, I will consider how one's vision of the scene is affected by knowledge of the music, and reconsider Max Steiner's conception that classical music should not be used in movies. [...]

[...] In addition, it is interesting to notice how the version that is used in the film is a modified version of Schubert's original work. In fact, as interpreted by Ralph Holmes, Moray Welsh and Anthony Goldstone, the movement is shortened and simplified, so that the rigid control of tempo and the repetitive aspect of the theme, which are in my opinion the two key features of the trio, are emphasized. The major theme is repeated again and again. The climax that we have seen is attained in the original trio, however, is not present in the film adaptation. [...]

[...] For that reason, it is often considered to constitute the heart of the piano trio in e flat. In Stanley Kubrick's Barry Lyndon, a very stylish film about an ambitious man who wants to reach the upper class of the society, this very movement appears at a critical movement of the story : when Redmond Barry sees Lady Lindon, who will become his wife, for the first time. The music plays an extremely important role since most of the scene in which it plays is silent. [...]

[...] Finally, after having studied both Schubert's work independently and its insertion in Barry Lyndon, let us consider how the musical knowledge of the music may influence our perception of the scene. Intuitively, the musical knowledge of Schubert's work could be disapointing, when applied to Stanley Kubrick's film : hence, Schubert's work has been written in the eighteenth century when Barry Lyndon takes place in the nineteenth century ; and the melody that is used appears to be Swedish when the film's action occurs in Ireland and in Great Britain! [...]