Barry Lyndon Tribute Concert (Stanley Kubrick)
Conducted by Nicolas Altstaedt, the Orchestre Philharmonique de Radio France, alongside Jean Rondeau, Violaine Cochard, Ana Millet, Renaud Guieu and Catherine Cournot perform the works from the film "Barry Lyndon". Concert recorded live on 17 March 2019 at the Radio France Auditorium.
- 2mn 11s
- 10mn 20s
- 4mn 11s
- 10mn 53s
- 7mn 14s
Henry PurcellMusique pour les funérailles de la Reine Mary : marche
Antonio VivaldiSonate pour violoncelle en basse continue n°5 en mi mineur
Georg Friedrich HaendelSuite n°4 pour clavecin en ré mineur : Sarabande
Johann Sebastian BachConcerto pour deux clavecins en ut mineur BWV 1060
Franz SchubertTrio pour violon, violoncelle et piano en mi bémol majeur opus 100, D 929 Cinq danses allemandes D 90, extraits : no 1 et no 2
Joseph HaydnConcerto pour violoncelle en do majeur
Four years after the terrifying portrait of an ultra-violent society in Clockwork Orange, Stanley Kubrick surprised audiences with his latest film inspired by a novel by William Makepaece Thackeray, The Luck of Barry Lyndon (1844). Behind the sumptuous costumes inspired by the greatest English painters of the 18th century, the delicate lighting, the magnificent sets and locations, lies the meticulous and subtle music soundtrack that accompanies this satirical story, narrated with detachment and irony by an omnipresent voice. In Barry Lyndon, the soundtrack was conceived with particular care by Kubrick, who called upon the arrangements of Leonard Rosenman, a talented composer of Hollywood film scores.
The two musical works that influenced audiences and filmmakers alike following the film's release, constantly performed since, feature prominently throughout the film. Firstly, the Sarabande from the Suite n° 11 for harpsichord, composed by \1 between 1703 and 1720, and orchestrated by Leonard Rosenman for Barry Lyndon; secondly, a romantic music chosen by Kubrick for its expressive quality (since, according to the director, no 18th-century work was suitable to accompany the second part of the film): Kubrick therefore chose the second movement of the Trio for violin, cello and piano op.100 by \1, composed in November 1827.