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.
[...] 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. [...]
[...] 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 disappointing, 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! [...]
[...] Even if the music was written in a totally different context then the one depicted in Barry Lyndon, the strongly emotional subject that the trio contains, as well as its complexity, appear to be both in temporal and universal. For that reason, it could be used in a brilliant way in Kubrick's Barry Lyndon, without spoiling the striking authenticity of the whole film. All in all, it seems obvious to me that, being perfectly integrated into the action, the music definitely contributes to the beauty of the meeting scene, nearly silent and yet full of emotion and meaning. [...]
APA Style reference
For your bibliographyOnline reading
with our online readerContent validated
by our reading committee
