<div style="font-size:14pt;font-family:arial,helvetica,sans-serif;color:black;"><div style="font-family:arial,helvetica,sans-serif;font-size:10pt;color:black;">There was a very interesting prog on BBC Radio 4 celebrating the 50th anniversary of "2001 a Space Odyssey , which contained some really fascinating stuff, including the fact that originally the film had voice over narration which explained all things audience now find so intriguing /puzzling and also (If I've remembered correctly ) the classical music,( the Viennese Waltz etc )was only there temporarily, to have music to edit against whilst a composer prepared the proper score ! At the Last minute Kubrick changed his mind about both things I recommend this programme ! <br><br><br>-----Original Message-----<br>From: Veit, Richard via Afamilyatwar-list <afamilyatwar-list@baylor.edu><br>To: Afamilyatwar-list <Afamilyatwar-list@baylor.edu><br>Sent: Fri, 13 Apr 2018 22:48<br>Subject: Re: [Afamilyatwar-list] Vaughan Williams<br><br></div>
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<p class="aolmail_MsoNormal"><span style="font-size:14.0pt">Yes, Scott, you are right on target about the impact of the Vaughan Williams excerpt in A FAMILY AT WAR. I am stirred anew each time I hear it. Another instance of classical usage that comes to mind are the
closing credits for the 1979 film, ALIEN, which used the glorious first movement of Howard Hanson's Symphony No. 2 ("Romantic").</span></p>
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<p class="aolmail_MsoNormal"><span style="font-size:14.0pt">Stanley Kubrick must have been quite knowledgeable about classical music. For his A CLOCKWORK ORANGE from 1971, he borrowed (and ruthlessly "modernised") themes from no fewer than four composers: Purcell,
Rossini, Beethoven, and Elgar.</span></p>
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<p class="aolmail_MsoNormal"><span style="font-size:14.0pt">Richard Veit</span></p>
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<p class="aolmail_MsoNormal"><b><span style="font-size:12.0pt;color:black">From: </span></b><span style="font-size:12.0pt;color:black"><afamilyatwar-list-<a href="mailto:bounces@baylor.edu">bounces@baylor.edu</a>> on behalf of AFAMILYATWAR-LIST <Afamilyatwar-<a href="mailto:list@baylor.edu">list@baylor.edu</a>><br>
<b>Reply-To: </b>AFAMILYATWAR-LIST <Afamilyatwar-<a href="mailto:list@baylor.edu">list@baylor.edu</a>>, Scott Filderman <<a href="mailto:scottfilderman@yahoo.com">scottfilderman@yahoo.com</a>><br>
<b>Date: </b>Friday, April 13, 2018 at 4:22 PM<br>
<b>To: </b>AFAMILYATWAR-LIST <Afamilyatwar-<a href="mailto:list@baylor.edu">list@baylor.edu</a>><br>
<b>Subject: </b>[Afamilyatwar-list] Vaughan Williams</span></p>
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<p class="aolmail_MsoNormal"><a name="aolmail__MailOriginalBody">Whoever had the truly inspired idea to use the end of the first movement of Ralph Vaughan Williams’ Sixth Symphony as the theme for AFAW did as great a service to that wonderful composer as did whoever chose
the last section of Rossini’s William Tell overture for the Lone Ranger radio/television program here in the USA. As a lifelong Vaughan Williams admirer, I never tire of hearing that plaintive hymn that opens and closes every episode. Stanley Kubrick did a
similar favor for Richard Strauss by choosing Also Sprach Zarathustra to open his epic 2001: A Space Odyssey. Sometimes ya just gotta go classical!
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<p class="aolmail_MsoNormal" style="margin-bottom:12.0pt"><span style="mso-bookmark:_MailOriginalBody">Always a favorite game to Name That Tune as episodes of The Onedin Line roll by! MORE Vaughan Williams! Fifth Symphony, right?<br>
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