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“Sometimes the music comes first."

This is what filmmaker Wes Anderson states about Benjamin Britten’s music and its impacton the whole germination of his film MOONRISE KINGDOM. It is difficult not to guess that Stanley Kubrick, Lars von Trier and Woody Allen did not proceed the same way when conceiving the stunning and music-flooded openings of 2001 - A SPACE ODYSSEY, MELANCHOLIA and MANHATTAN. Across the ever-flowing stream of creation and inspiration, a river can inspire Bedrich Smetana to write a soaring symphonic poem (MÁ VLAST); a book by Friedrich Nietzsche can be the source for Richard Strauss’s tone poem ALSO SPRACH ZARATHUSTRA. Decades later, the musical pieces are still able to blow the minds of visionary filmmakers such as Stanley Kubrick and Terrence Malick. Take for instance 2001 - A SPACE ODYSSEY where the surprising cohesion between a Viennese waltz - THE BLUE DANUBE - and a futuristic ballet of spaceships made Kubrick finally stick to the concert pieces he had already used as temporary music rather than using the original score commissioned from Alex North.

In doing so, the so-called ‘classical’ repertoire - from the Baroque era to the 20th century – somehow becomes film music. Film music that was (we beg your pardon) unconsciously composed by Richard Wagner, Kurt Weill, Pyotr Ilyich Tchaikovsky, Gioachino Rossini and Krzysztof Penderecki. Some works inspired Charles Chaplin, Federico Fellini and Louis de Funès in their most unforgettable (musical) gags, or raised deep philosophical and sociological resonances in films like Fritz Lang’s M, Martin Scorseses’s RAGING BULL and Terrence Malick’s THE TREE OF LIFE.

Indeed, the quality (and ambition) of this arbitrary connection between a pre-existing musical work and film depends very much on the vision, ear and talent of the filmmakers, and how they approach the classical repertoire. Because of that, the programme CLASSICS ON THE SILVER SCREEN is not only an invitation to discover classical music through films, but also a journey through some of the most imaginative, compelling and wise integrations of preexisting music into films. Integrations that create a sense of mutual exchange and enrichment – and not merely one art leeching off the other. We hope you will enjoy the intimate musical re-shaping of imagery and, conversely, a whole world of visual and rhythmic layers that are newly embodied by music.


concert order

A Portrait of Stanley Kubrick

Richard Strauss (1864 - 1949): Introduction to ALSO SPRACH ZARATHUSTRA,
used in 2001 - A SPACE ODYSSEY (1968)

Johann Strauß II (1825 - 1899): THE BLUE DANUBE, used in 2001 - A SPACE ODYSSEY

Georg Friedrich Handel (1685 - 1759): Sarabande from Suite in D minor, used in BARRY LYNDON (1975)

Dmitri Shostakovich (1906 - 1975): Waltz No. 2 from Jazz Suite No. 2, used in EYES WIDE SHUT (1999)

Wolfgang Amadeus Mozart (1756 - 1791): Adagio from Clarinet Concerto in A major,
used in OUT OF AFRICA (1985)

Henry Purcell (1659 - 1695) / Benjamin Britten (1913 - 1976): THE YOUNG PERSON’S GUIDE TO THE ORCHESTRA, used in MOONRISE KINGDOM (2012)

Benjamin Britten: Simple Symphony: II. Playful Pizzicato, used in MOONRISE KINGDOM

Pyotr Ilyich Tchaikovsky (1840 - 1893): Dance of the Little Swans from SWAN LAKE, used in BILLY ELLIOT

Scene No. 1 from SWAN LAKE, used in BILLY ELLIOT (2000)

Comedy Suite

Richard Wagner (1813 - 1883): Prelude from LOHENGRIN, used in THE GREAT DICTATOR (1940)

Johannes Brahms (1833 - 1897): Hungarian Dance No. 5, used in THE GREAT DICTATOR

Gioachino Rossini (1792 - 1868) / Ottorino Respighi (1879 - 1936): Tarantella, vused in LE  CORNIAUD (1964)

Hector Berlioz (1803 - 1869): Hungarian March from LA DAMNATION DE FAUST, used in LA GRANDE VADROUILLE (1966)


- - - Intermission - - -


Opera Suite

Richard Wagner: Prelude from TRISTAN AND ISOLDE, used in MELANCHOLIA (2011)

Richard Wagner: “The Ride of the Valkyries“ from DIE WALKÜRE, used in OTTO E MEZZO (1963)

Gioachino Rossini: Excerpt from THE BARBER OF SEVILLE, used in OTTO E MEZZO

Pietro Mascagni (1863 - 1945): Intermezzo from CAVALLERIA RUSTICANA, used in RAGING BULL (1980)

Krzysztof Penderecki (* 1933): Passacaglia from Symphony No. 3, used in SHUTTER ISLAND (2010)

Bedrich Smetana (1824 - 1884): “Vltava“ from MÁ VLAST, used in THE TREE OF LIFE (2011)

Edvard Grieg (1843 - 1907): “In the Hall of the Mountain King“ from PEER GYNT, used in M (1931)

A Portrait of Woody Allen

Kurt Weill (1900 - 1950): Excerpt from THE THREEPENNY OPERA, used in SHADOWS AND FOG (1991)

Eric Satie (1866 - 1925) / Claude Debussy (1862 - 1918): Gymnopédie No. 3, used in ANOTHER WOMAN (1988)

George Gershwin (1898 - 1937): Excerpt from RHAPSODY IN BLUE, used in MANHATTAN (1979)


- - - Encores - - -


Richard Wagner: “The Ride of the Valkyries” from DIE WALKÜRE, used in APOCALYPSE NOW (1979)

Gustav Mahler (1860 - 1911): Adagietto from Symphony No. 5, used in DEATH IN VENICE (1971)

and many more



100 min.
large orchestra (from 46 Musicians)
upon request