Stanley Kubrick’s The Shining

Consumed by betrayal and jealousy, a wealthy Manhattan doctor becomes entangled in a a ritualistic sexual underworld when his wife admits to having lascivious sexual fantasies about another man.

Un acomodado matrimonio neoyorquino asiste a una elegante fiesta de la alta sociedad. Allí a ambos se les ofrece la posibilidad de ser infieles a su pareja; los dos rechazan estas ofertas para no poner en peligro su aparentemente perfecta relación. Sin embargo, al llegar a casa tienen una conversación que provocará una importante crisis entre ellos.

Review for The Shining (Original Sound Track)
The soundtrack for Director Stanley Kubrick's 1980 film, The Shining may be the horror genre's Holy Grail; a real collector's item. It's rare to find a legitimate copy of this film's music anywhere. The vinyl version of the soundtrack was withdrawn from the market due to licensing issues and it was never released on CD. Currently, the aforementioned record is being sold on Discogs and eBay for obscene amounts of money. It's not surprising given that the film has become so iconic. Kubrick had an uncanny knack of synchronizing just the right passages of music to coincide perfectly with the images on the screen. He relied more often than not on existing music rather than a traditional score with 2001: A Space Odyssey, A Clockwork Orange, and The Shining being prime examples. I think it's safe to say that Kubrick may have even led the way in this regard for other filmmakers such as Woody Allen, Wes Anderson, Marty Scorsese, and obviously Quentin Tarantino.

A Revolution In Sound looks at the influence of modern classical music, the avant-garde and free jazz on pop and pop culture, during the second half of the twentieth century. In the mid-1960s, as pop music acquired a greater sophistication and maturity, artists began to make more ambitious musical and conceptual statements. In the search for new ideas, pop began to find inspiration along the spectrum of classical music – from Stockhausen to Sibelius – and from artists who inhabited the outer reaches of jazz, drawing even on the classical music of Northern India with its roots in the antique past.

A Revolution In Sound looks at the influence of modern classical music, the avant-garde and free jazz on pop and pop culture, during the second half of the twentieth century. In the mid-1960s, as pop music acquired a greater sophistication and maturity, artists began to make more ambitious musical and conceptual statements. In the search for new ideas, pop began to find inspiration along the spectrum of classical music – from Stockhausen to Sibelius – and from artists who inhabited the outer reaches of jazz, drawing even on the classical music of Northern India with its roots in the antique past.

First performed on 30th October 1946 in the Great Hall of the Moscow Conservatory in the very midst of the Soviet turmoil, the Cello Concerto was the last of a series of three concertos, such as those for violin or piano, to be presented with Sviatoslav Knouchevitski (dedicatee) on the cello and Aleksandr Gauk conducting. Though first performed in 1946, it was written many years earlier while the composer was studying cello at the Gnessin Institute.

First performed on 30th October 1946 in the Great Hall of the Moscow Conservatory in the very midst of the Soviet turmoil, the Cello Concerto was the last of a series of three concertos, such as those for violin or piano, to be presented with Sviatoslav Knouchevitski (dedicatee) on the cello and Aleksandr Gauk conducting. Though first performed in 1946, it was written many years earlier while the composer was studying cello at the Gnessin Institute.

Sometimes it takes a personal tragedy to catalyse an artist’s practise, a crack in everything, to paraphrase Leonard Cohen, that let’s the creative light in. Just such a traumatic fissure occurred in Charlotte Gainsbourg’s life in late 2013 with the sudden death in Paris of her half-sister, the fashion photographer Kate Barry. Reeling from the news and inevitably plunged into an extended period of grieving, the distressing event had transpired just as Charlotte was initiating activity on a new album, the successor to 2010’s IRM.

Features new remastered editions of five works from the director whose movies crossed new frontiers.