"An absolutely superb selection of music. Again and again Kubrick revealed his genius in moviemaking with every detail, including his choice of musical accompaniment. The Handel is bold and poignant in all its variations. The rivetting Schubert Trio in E-flat IS the scene in the movie, and remains the scene on the soundtrack and is played eloquently and flawlessly with that odd droll depth which was sometimes characteristic of the Baroque. A truly amazing listen. It will transport you out of the bussle of the 21st Century with such profound delicacy. This one work alone would be worth the price of the CD, but there's so much more. There's also a Mozart march, a wonderful Bach Adagio for duel harpsichords, a gorgeous cello concerto by Vivaldi, and the hypnotically exquisite Cavatina by Pasiello. There are a couple of rare modern sublimes as well, Sean O'Riada's amazingly ethereal "Tin Whistles" and his "Women of Ireland." And then there's a few works of period traditional music which add filigree to the whole ensemble. It's a complete soundtrack, so like most soundtracks, there's a couple of pieces you probably won't want to listen to over and over again, but you can program those out with your CD or mp3 player (the two marches, while well-performed, distract from the otherwise delicate minuet pace of the whole ensemble, so I edit them out). Most of this music places you right in the period, but at the same time, much of it is so rare and wonderfully performed that it also transcends time and place with moments of the highest aesthetic pleasure. I converted it into my mp3 collection and pick and choose from its flavors for aesthetic sustenance according to my appetite. It's a small banquet. You can't help loving this collection. The Schubert trio in E-flat, especially, will stay close to your heart the rest of your life. It has to be one of the most beautiful recordings of all time--an amazing mixture of pathos and deliberation--so much like Barry and Lady Lyndon."
A long wait, but worth it.
ggagnon | Longmeadow, MA | 05/19/2005
(5 out of 5 stars)
"Prior to Kubrick's "Barry Lyndon", literary/historical epics seemed confined to action/war pictures--whether Roman, 19th century or WWII. The slower extended "Masterpice Theatre" approach wasn't thought commercial--and especially such a dry picaresque social satire as Barry Lyndon. Luckily Kubrick had the clout and experience to make it. So maybe "Barry Lyndon" wasn't a blockbuster, but for sheer beauty, technical mastery, and brilliant use of musical scoring, there are few films that can match it. Unfortunately, the soundtrack recording was as rare as the film. An LP was released, and luckily I bought one almost immediately. But when the age of CD's arrived, never a Barry Lyndon soundtrack CD did I see, find, or receive knowledgeable info about from underage pop-music-centric clerks. So if the CD soundtrack is finally available, buy it before it disappears again, and enjoy a classical, and thankfully instrumental, music soundtrack that not only perfectly complements the film action, but also provides an excellent source for exploring composers and genres, and expanding your own music collection."
Excellent music/excellent movie
Erik North | 08/08/2002
(5 out of 5 stars)
"Barry Lyndon is one of my favorite movies and the music chosen is perfect for it. I love the part when Barry has just seen Lady Lyndon for the first time and follows her slowly outside, while Schubert's piano trio in e flat is played. That piece of music perfectly complements the scene. The Irish music by the Chieftains in the beginning is also enjoyable. I haven't been able to find the recording of the Schubert piano trio in e flat anywhere that was used in the film. The pianist is Anthony Goldstone and I love the recording in the film but haven't been able to find the complete trio with Goldstone anywhere online. Anyone know where to find it?"
Kubrick, Rosenman, BARRY LYNDON, And A Great Soundtrack
Erik North | San Gabriel, CA USA | 05/03/2008
(5 out of 5 stars)
"Along with EYES WIDE SHUT, BARRY LYNDON is perhaps the most misunderstood film that Stanley Kubrick ever made. Its ironic story of an 18th century nobleman who lies, cheats, and fights his way to the top of society, only to find there's a price to pay was typically Kubrickian, but audiences in 1975 when the film was released were expecting something totally UN-Kubrickian.
But as with many of Kubrick's films, it is the music that Kubrick utilizes that helps to make the film so memorable; and BARRY LYNDON is no exception. Aside from performances of traditional Irish music by the legendary Chieftains, much of the soundtrack of BARRY LYNDON is of the 18th and early 19th century: Vivaldi's "Cello Concerto In E Minor"; the Andante of Schubert's Piano Trio In E Flat Major; and two pieces by Mozart, the March from "Idomeneo" and the German Dance No. 1 In C Major. All are intricately used in the film as part of the intellectual and narrative drive of the piece.
But if BARRY LYNDON has a musical calling card, as 2001: A SPACE ODYSSEY did with Strauss' "Also Sprach Zarathustra", and A CLOCKWORK ORANGE did with Beethoven's Symphony No. 9, it is in the use of George Frideric Handel's Sarabande In D Minor, used in full orchestral fashion to bookend the film, and for more sinister purposes during important duels. And apart from a few uses of pre-existing recordings, much of this adapted music for BARRY LYNDON was done by the late (and frequently underrated) Leonard Rosenman, whose credits included GIANT; FANTASTIC VOYAGE; BENEATH THE PLANET OF THE APES; and A MAN CALLED HORSE; in BARRY LYNDON, he works with the National Philharmonic Orchestra of London. His efforts earned this film one of its four Oscars, for Best Adaptation of Music.
As with any number of Kubrick's films, it has taken BARRY LYNDON some time to be fully appreciated by audiences, but time and patience eventually paid off. The music, however, was always there; and the end result is here on this recording for all to hear."