Music in the Shining

These charts are 2 of the original dubbing charts for TheShining, done by Gordon Stainforth. They are the roughcharts for reel numbers 14 & 15. On the left of each chart,you can read the particular scene that correlates with themusic. In certain cases, phrases were used on the chartsinstead of the actual song title, such as "twittering." Thenumbers shown are the footages(the foot number within theparticular reel).

The first chart is the second version of reel #14. The spiderywriting in black and blue is that of Stanley Kubrick, writtenduring a test-run in the dubbing theater.

The second chart is of reel #15. This chart shows thecomplexity of the soundtrack at the very end of the film asJack is chasing Danny in the hedge-maze and Wendyencounters the ghosts in the Overlook.

THE SHiNiNG

SHiNiNG MuSiC CHaRTS http://www.drummerman.net/shining/charts.html

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THE SHiNiNG

Bela Bartok(Nagyszentmiklós, Hungary - today Sînnicolau Mare, Romania - , 25 March 1881; New York, 26 September 1945).

Hungarian composer, pianist and ethnomusicologist; by far the most important of Hungarian composers andresponsible, with Zoltán Kodály, for the awakening of the interest in Hungarian folk music. While being thus occupiedBartók never neglected his engagement with Western art music. Initially his musical style was influenced bycomposers such as Brahms, R. Strauss, Debussy and Stravinsky. These influences gradually loosed their ground tothe impact Hungarian, Slavonic and Romanian folk music began to exert on him, a consequence of his activities inthe field of ethnomusicology. Notwithstanding these influences Bartók developed a distinctive personal style, a styleto which the audience of his own days did not always respond, but which, towards the end this century, is met withmore and more appreciation and admiration.

A selection from Bartók's vast output: Concerto for Orchestra, Dance Suite, Divertimento, Music for Strings,Percussion and Celesta, 3 Piano Concertos, 2 Violin Concertos, Viola Concerto, the opera Bluebeard's Castle, thepantomime The Miraculous Mandarin, the ballet The Wooden Prince, Chamber Music: 6 String Quartets, Contrasts(written for Benny Goodman), Piano Music: For Children, Mikrokosmos, Sonatas, Bagatelles, Folk Songtranscriptions and many other pieces.

-from the Philips Music Group Website

The Composers http://www.drummerman.net/shining/composers.html

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Gyorgy Ligeti(Dicsozentmarton, Transylvania - 1923)

Ligeti was born of Hungarian Jewish parents in Dicsozentmarton, Transylvania, an area that has yo-yoed back andforth between Hungary and Romania. He received a fine musical education, first at the Kolozsvar Conservatory, andlater at the Budapest Academy of Music. After his graduation in 1949, like his countrymen Bartok and Kodaly, hepursued field research in folk music; Romanian folk music in particular. In 1950, he was appointed Professor ofHarmony, Counterpoint and Formal Analysis at the Budapest Conservatory, a post he held until he fled Hungary in1956. During these years his published music consisted of arrangements of folk music or music in the folk idiom,although he was also working on more daring experimental music (as is evidenced from sketches and scores). Thepolitical climate made it impossible, as well as improvident, to publish any of the works in the style that was to bringhim international recognition. However, it was during this period before the Hungarian uprising that the Bagatelleswere composed. Although the Fifth Bagatelle is an outright memorial to the memory of Bela Bartok, all of thesedelightful miniatures bear resemblance to some of Bartok’s own folkloric works, as well as a good measure ofStravinsky, particularly No. 4 and No. 6.

After leaving Hungary and settling in Vienna, Ligeti’s stature as a composer continued to grow. He has held manyimportant and prestigious posts throughout Europe. As for the Bay Area, Ligeti was Lecturer and Composer-in-Residence at Stanford University in 1972. Among his works is a piece for orchestra dating from 1974 entitled SanFrancisco Polyphony.

Krzysztof Penderecki(Debica, Poland - 1933)

Penderecki is one of the most esteemed and widely discussed composers of our time. The development of hiscompositional style has reflected the evolution of new music from the avant-garde of the sixties up to the presentday, while preserving his own distinctive voice.

Like other leading composers of our century, Mr. Penderecki has also built an international reputation as a conductor.In Europe he has conducted the Berlin Philharmonic as well as orchestras in France, England, Italy, Austria, Swedenand Switzerland, and his American appearances have included performances with the New York Philharmonic andthe Philadelphia Orchestra, among others. He also holds two permanent posts: as principal guest conductor of theNDR Orchestra in Hamburg and as music director of the Casals Festival in Puerto Rico.

After finishing his studies at the Krakow High School of Music, Mr. Penderecki immediately began his rise toprominence, winning all three prizes at the 1959 contest of the Polish Composers' Association. In early works suchas Emanations, Strophes, and most notably the Threnody for the Victims of Hiroshima, he put himself at the forefrontof the avant-garde, combining a highly experimental and expressionistic use of sound with a radical humanisticmessage.


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The highlight of this first phase of Mr. Penderecki's work occurred with the premiere of his most famous work, the St.Luke Passion, in Münster Cathedral in 1966, the first in a series of liturgical works including Dies Irae, dedicated tothe victims of Auschwitz (1967), Utrenja ("The Entombment of Christ" and "The Resurrection of Christ," 1970-71),and Magnificat (1974). Mr. Pendercki's style gradually turned toward simple structures and a more traditional tonallanguage in these works, moving toward a contemporary neo-Romanticism. Other works from this period include theViolin Concerto (1976-77), written for Isaac Stern, and the Te Deum (1980), dedicated to Pope John Paul II.

Mr. Penderecki also established his reputation as a musical dramatist during these years, first with The Devils ofLoudun (1969), followed by Paradise Lost, premiered in Chicago in 1978. His third opera, The Black Mask, achieveda major success in its premiere at the 1986 Salzburg Festival, and with the opera buffa Ubu Rex (1990-91), adaptedfrom Alfred Jarry, Mr. Penderecki has created a burlesque in the spirit of Rossini.

In the 1980's, Mr. Penderecki began to connect the acerbic sounds of his first period with the romantic gestures ofthe second, thus creating music of universal humanistic expressiveness. Among the most notable works of thisperiod are the Cello Concerto No. 2 (1982), the Viola Concerto (1983) and the Polish Requiem (1984), a work whichis the composer's memorial to the oppression of his country and a declaration of solidarity with its stuggle forfreedom.

Mr. Penderecki has completed a number of symphonies and concertos in rapid succession since 1988, including therecent Symphony No. 5 (1991-92); the Flute Concerto (1992), written for Jean-Pierre Rampal; the Sinfonietta No. 2for Clarinet and Strings (1994) and the Concerto for Clarinet and Chamber Orchestra.

Two of his most recent works, the Violin Concerto No. 2 (1992-95), written for Anne-Sophie Mutter, and the newlycompleted Symphony No. 3, received their United States premieres at Carnegie Hall in the fall of 1996. His notablechamber music compositions have included Per Slava (1985-86), written for Mstislav Rostropovich, The InterruptedThought for string quartet (1988), the String Trio (1990-91) and the Divertimento for Solo Cello. Among thenumerous awards and prizes Mr. Penderecki has won are the UNESCO Award, the Great Art Award of North Rhine-Westphalia, the Prix Italia (in both 1967 and 1968), the Prix Artur Honegger, the Sibelius Prize, the Premio LorenzoMagnifico, the Grawemeyer Award for Music Composition and a Grammy Award, among many others. He has alsoreceived two Emmy nominations for the A&E Network broadcasts from the Casals Festival. Nine universities, amongthem Glasgow, Madrid and Belgrade, have conferred honorary doctorates on Mr. Penderecki.

From 1972 to 1979, he was director of the Krakow High School of Music, and from 1973 to 1978 he taught at YaleUniversity as well. He is an honorary member of the Royal Academy of Music in London, the Royal Academy ofMusic in Dublin, the Accademia di Santa Cecelia in Rome, the Royal Academy of Music in Stockholm and theAkademie der Künste in Berlin, and bears the Order of Merit of the the Federal Republic of Germany and hasrecently been named Freeman of the City of Strasbourg.

- from the CBC RadioTwo Website

Wendy Carlos


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(Pawtucket, Rhode Island - November 14, 1939)

Composer Wendy Carlos spurred electronic music to new commercial heights during the late '60s, popularizing thesynthesizer with the enormously successful Switched-On Bach album. Born in Pawtucket, Rhode Island onNovember 14, 1939, Carlos pursued her M.A. in composition under Vladimir Ussachevsky and Otto Luening atColumbia University's famed Columbia-Princeton Electronic Music Center. Following her graduation, she moved toManhattan, where she found work as a recording engineer. In Manhattan, she met Dr. Robert Moog and, not longafterward, she began playing the Moog synthesizer.

Carlos released her first recording, Switched-On Bach, in 1968. A showcase for the Moog synthesizer, Switched-OnBach interpreted the legendary composer's most renowned fugues and movements via state-of-the-art synthtechnology; purists were appalled, but the record captured the public's imagination and in time the album becamethe first classical record to be certified platinum by the RIAA. It also earned three Grammy Awards. A similar effort,The Well-Tempered Synthesizer, followed in 1969. In 1971, Carlos wrote the music for Stanley Kubrick'scontroversial film A Clockwork Orange, introducing the vocoder -- an electronic device designed to synthesize thehuman voice -- in her score. After 1976's Brandenburg Concertos 3-5, Carlos again worked with Kubrick, providingthe score for his 1980 adaptation of Stephen King's The Shining. Two years later, she wrote music for Tron, Disney'saction movie about video games. Subsequent efforts included a spoof of Prokofiev's Peter and the Wolf recordedwith Weird Al Yankovic and Switched-On Bach 2000.

- All-Music Guide

Al Bowlly(Born Jan 7, 1899 in Mozambique. Died Apr 17, 1941 in London, England)

The most popular vocalist in Britain during the 1930s, Al Bowlly showcased a range of material unsurpassed by anycontemporary other than Bing Crosby. He was also a true international recording artist: born in Mozambique toGreek and Lebanese parents, he was raised in Johannesburg, but gained his musical experience singing for adance band led by Jimmy Liquime in India and Singapore during the mid-'20s. Just one year after his 1927 debutrecording date in Berlin, Bowlly arrived in London for the first time, as part of Fred Elizalde's orchestra. That year, "If IHad You" became one of the first popular songs by an English jazz band to become renowned in America as well,and Bowlly had gone out on his own by the dawn of the '30s. During the next three years, he recorded over 500songs and appeared with orchestras led by Ray Noble and Lew Stone. A visit to New York in 1934 with Nobleresulted in more success; he appeared at the head of an orchestra hand-picked for him and Noble by Glenn Miller(the band included Claude Thornhill, Charlie Spivak and Bud Freeman, among others).

During the mid-'30s, such songs as "Blue Moon," "Easy to Love," "I've Got You Under My Skin" and "My MelancholyBaby" were sizable American successes -- so much so that Bowlly gained his own radio series on NBC and traveledto Hollywood to film The Big Broadcast of 1936, which also starred one of his biggest competitors, Bing Crosby. Hewas back in England that same year, appearing with his own band, the Radio City Rhythm Makers, as well as the


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orchestras of Sydney Lipton, Geraldo and Ken Johnson. Partnered with Jimmy Messini, Bowlly also branched outonto the London stage during the early '40s with an act called Radio Stars with Two Guitars. It was his last venturebefore his death in 1941, the victim of a German bomb exploded outside his apartment. Fifty years after his death, aBritish musical named Melancholy Baby toured the country with much success.

- All-Music Guide

THE ReCORDiNGS

For those of you who'd like to hunt down the music, you can find everything on the following albums:

The Shining-Original Soundtrack (Warner Bros HS3449) LpGyorgy Ligeti-Concert for Cello & Orchestra/Lontano (Wergo WER60163-50) CD

Bela Bartok-Concerto for Orchestra/Music for Strings, Percussion & Celesta (Deutsche Grammophon 415322-2) CD

Krzysztof Penderecki Vol.1-St. Lukes Passion/Threnody/Polymorphia (Muza PNCD 017 A) CDKrzysztof Penderecki Vol.2-Utrenja (Muza PNCD 018) CD

Krzysztof Penderecki Vol.4-Cello Concerto No.2/Awakening of Jacob (Muza PNCD 020) CDKrzysztof Penderecki Matrix 5-De Natura Sonoris #'s 1 & 2 (EMI Classics CDM 5 65077 2) CD

Al Bowlly/Ray Noble(Monmouth Evergreen MES/6816) Lp

-Back-


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THE MUSIC IN THE SHININGBy Valerio Sbravatti

(first version 2007; revised version 2010)

INTRODUCTION

Music in The Shining is of fundamental importance, as it is in many of Stanley

Kubrick’s films. Except for two original compositions by Carlos and Elkind, the

pieces already existed. Excluding the four songs, the music chosen by Kubrick for

this film belongs to the classical contemporary repertoire, which fits well with the

Gothic horror atmosphere which is a characteristic element of The Shining. Kubrick

had already memorably used Ligeti’s music in 2001: A Space Odyssey (1968), and he

used it again in Eyes Wide Shut (1999). Pieces by Penderecki such as Polymorphia

and Kanon had also been used in another horror cult film, William Friedkin’s The

Excorcist (1973).

The aim of this essay is to analise the music mix of The Shining. None of the pieces

was used in its original form in the film: assistant editor Gordon Stainforth (who

edited the music) completed the quite complex task of fitting each composition to

each sequence in the film. The perception that the spectator has is, therefore, often

distorted and altered compared to that intended by each composer, nevertheless the

result on the emotional impact of the film is valuable and remarkable. However, in

order to have a clear and authentic idea about the nature of these compositions as they

were originally conceived, it is highly recommended to listen to integral and

unaltered recordings.

NOTE ON THE REVISED VERSION

In this version of the essay, revised in 2010, along with changes to the text, errors and

imprecisions were corrected. Moreover it has been indicated with apposite notes

("additions") what was added to the previous version.

ANALYSIS METHODOLOGY

In the analysis we firstly looked into the international version of the film, running 119

minutes, and afterwards also into the 144 minutes version, distributed in USA and

Canada only (from now on, "USA version"), containing sequences and shots which

Kubrick decided to cut before exporting the film elsewhere in the world.

First of all, information was gathered from various sources (internet, texts about

Kubrick, the LP recording described further on) about the titles of the pieces and the

recordings used in the film. Subsequently, recordings have been collected, giving

preference (where possible) to those used in the film, and they have been listened to

and compared with the fragments heard in the film. The indicated timings are those of

the recordings examined by us illustrated further on, which do not always correspond

to those used in the film.

The sound of the Warner DVDs of the film distributed in the world since 2001 is not

the same as that of the original version: it was remixed after Kubrick’s death in Dolby

Digital 5.1 (DD 5.1). In our opinion, this operation should never have taken place

without the director’s approval and supervision. Even Stainforth was not involved¹.

In this analysis we have used the original sound of the Italian version (mixed by

Kubrick himself²).

ADDITION. Initially, as regards the sequences contained only in the longest version

of the film we had analised the sound of the USA-Canada edition of the dvd

distributed in 2001, which is remixed in DD 5.1. Afterwards, it was possible to obtain

the first dvd edition of the film (produced in 1999 and distributed only in USA and

Canada, therefore containing the longer version of the film), the only one to have the

original monophonic sound: the differences between the two mixes have been

opportunely indicated. We could also notice that the original mix of the USA-Canada

version and that of the original italian version, on which the analysis is based, are

identical.

There are also some film copies of The Shining with the same remixed sound as that

of the dvds: we had the opportunity to see one of these copies in an Italian screening,

in March 2010.

AUTHORS, TITLES AND DETAILS OF THE RECORDINGS USED IN THE

ANALYSIS

Wendy Carlos and Rachel Elkind

The Shining (Main title) (3'27")

Rocky Mountains (3'01")

Contained in the LP with music from the film (see addition at the end of the

paragraph).

Gyorgy Ligeti (1923-2006)

Lontano, for orchestra (1967)

Berliner Philharmoniker

cond. Jonathan Nott

Teldec Classics (℗ 2002)

Contained in The Ligeti Project II (Teldec Classics 8573-88261-2)

The recording used in the film is performed by the Sinfonie-Orchestra des

Sudwestfunk, conducted by Ernest Bour (see the addition at the end of the

paragraph).

Béla Bartók (1881-1945)

Music for strings, percussion and celesta, Sz 106 (1936)

Berliner Philharmoniker

cond. Herbert von Karajan

Polydor International GmbH, Hamburg (℗ 1973)

Contained in Concerto for orchestra – Music for strings, percussion and celesta

(Deutsche Grammophon 457 890-2)

This is the same recording as that used in the film, but in The Shining only part of the

III movement is heard.

Krzysztof Penderecki (1933-)

De natura sonoris no.1 (1966)

Polish Radio National Symphony Orchestra

cond. Krzysztof Penderecki

EMI Records (℗ 1976)

Contained in Orchestral works (EMI Classics 7243 5 74302 2 7)

This is the same recording as that used in the film.

De natura sonoris no.2 (1971)



EMI Records (℗ 1973)


We doubt strongly that this recording is the same as that used in the film (see

integration at the end of the paragraph).

The awakening of Jacob (1974)

(also known as The dream of Jacob)



EMI Record (℗ 1976)



Kanon for 52 strings and magnetic tape (1962)

Polish Radio Symphony Orchestra


EMI Record (℗ 1973)

Contained in Orchestral and choral works (EMI Classics 7243 5 74852 2 7)


Polymorphia for 48 strings (1961)

Cracow Philharmonic Orchestra

cond. Henrk Czyz

Polskie Nagrania (℗ 1967)

Contained in Krzysztof Penderecki volume one (Polskie Nagrania PNCD 017 B)

We think that this is the same recording as that used in the film, although internet

sources indicate that the one used in The Shining is played by the Polish National

Symphony Orchestra conducted by Penderecki³.

Jutrznia (1969-1971) (sometimes indicated as Utrenja or Utrenya)

Pioneer Choir (chorusmaster Wladyslaw Skoraczewski)

Warsaw National Philharmonic Orchestra and Choir (chorusmaster Jòzef Bok)

cond. Andrzej Markowski

Polskie Nagrania (℗ 1973)

Polskie Nagrania PNCD 018


Songs

Masquerade

Jack Hylton and his Orchestra

Recorded 23/9/1932, London, Decca F-3161

Midnight, the stars and you

Lyrics and music by Jimmy Campbell, Reg Connelly and Harry Woods

Performed by Ray Noble Orchestra, voice Al Bowlly, 1932

It’s all forgotten now

Lyrics and music by Ray Noble

Performed by Ray Noble Orchestra, voice Al Bowlly, 1934

Home (When Shadows Fall)

Lyrics and music by Van Steeden, Clarkson and Clarkson

Performed by Henry Hall & the Gleneagles Hotel Band, 1931

INTEGRATION

We were able to obtain the LP disc The Shining Original Sound Track, Warner Bros.

Records Inc., HS 3449, USA 1980.

This album, which was never republished afterwards, contains:

- The Shining (Main title)

- Rocky Mountains

- Lontano, Sinfonie-Orchester des Sudwestfunk, cond. Ernest Bour

- Music for strings, percussion and celesta (III movement) [the same recording as

that used in the analysis]

- Utrenja (that is Jutrznia) (excerpt) [the same recording as that used in the analysis]

- The awakening of Jacob [the same recording as that used in the analysis]

- De natura sonoris no.2 [the same recording as that used in the analysis]

- Home (with kind permission of Decca Record Company Ltd.)

The recording of De natura sonoris no.2 differs so much in some moments from the

way it is heard in the film, that we think it is a different recording. However, since it

is included this official Warner LP, we do not exclude the hypothesis that the

differences depend on alterations made to it by Stainforth.

For tecnical reasons it was not possible to use the Lontano recording conatined in this

LP for the analysis.

INFORMATION ABOUT THE PIECES AND THE COMPOSERS

THE SHINING (MAIN TITLE)

Electronic piece composed for the film. Carlos and Elkind use a phrase taken from

the 5th movement of Hector Berlioz’s Symphonie fantastique, which was itself

inspired by the famous medieval hymn Dies Irae thought to be written by Tommaso

da Celano (XIII century). Carlos and Elkind also composed other electronic music for

The Shining, but Kubrick decided not to use it.

ROCKY MOUNTAINS

Electronic piece composed for the film.

MUSIC FOR STRINGS, PERCUSSION AND CELESTA (III MOVEMENT)

This Adagio follows a 5-part palindromic structure (ABCBA), which Bartók loved.

The orchestra consists of: strings divided in two groups (violins I/II, violas I, cellos I,

double basses I; violins III/IV, violas II, cellos II, double basses II), snare-drum with

snares off, snare-drum with snares on, cymbals, tam-tam, bass drum, timpani,

xylophone, celesta, harp, piano.

LONTANO

Ligeti says: “I gradually moved away from total chromatics: Lontano, first performed

in Donaueschingen in 1967, is micro-polyphonic, but it is also diatonic and is made

up of countless unison canons” (quoted in the cd booklet). The first performance took

place on the 22nd October 1967 in Donaueschingen by the Sinfonie-Orchester des

Sudwestfunk, conducted by Ernest Bour, during the prestigious contemporary music

Festival which tooks place in the city every October. The orchestra consists of: 4

flutes (2nd and 3rd also piccolos; 4th also G alto flute), 4 oboes (the 4th also English

horn), 4 clarinets (the 1st A clarinet, the 2nd, 3rd and 4th B flat clarinet; the 3rd also B

flat bass clarinet), 3 bassoons, 1 contrabassoon, 4 horns in F, 3 C (or D) trumpets, 3

trombones (1st and 2nd tenor, 3rd tenor-bass), tuba, strings.

DE NATURA SONORIS NO.1

The title means “About the nature of sound”, and it is inspired by Lucrezio (“De

rerum natura”, “about the nature of things”). The first performance, conducted by

Andrzej Markowski, took place on the 7th April 1966, during the International

Festival of Contemporary Art in Royan, France. The ample orchestra consists of: 4

flutes (of which 1 or 2 piccolos), 3 oboes, English horn, 2 B flat clarinets, B flat bass

clarinet, 2 alto saxophones, 3 bassoons, contrabassoon, 6 F horns, 4 B flat trumpets, 3

trombones, tuba, vibraphone, bells, 5 kettledrums, 2 bongos, 6 tom-toms, snare-drum

with snares off, snare-drum with snares on, metal block, whip, claves, wooden

blocks, cymbal, Javanese gong, tam-tam, piano, harmonium, flexaton, 24 violins, 8

violas, 8 cellos, 6 double basses.


The piece was commissioned by the Juilliard School of Music in New York, and was

performed for the first time therein, on the 3rd December 1971, under the baton of

Jorge Mester. The orchestra consists of: 4 horns in F, 4 trombones, 1 tuba, slide

whistle, 4 cymbals, 2 tam-tams, 2 gongs, metal block, iron (rail), cymbals, saw,

flexatone, bells, tubular bells, wooden bass drum, kettledrums, 1 harmonium, 1 piano,

24 violins, 8 violas, 8 cellos, 6 double basses.

THE AWAKENING OF JACOB

The German title for the piece is formed by the first three words of Genesis, 28, 16,

which inspired the composer: “Als Jakob erwachte aus dem Schlaf, sah er, Gott

dagewesen war. Er hat es aber nicht gemerkt”. Translation: “And Jacob awoke from

his sleep, and said, Indeed God is here, and I didn’t know it”. It was composed for the

celebration of the Silver Jubilee of Prince Ranier III, and was performed for the first

time on the 14th August 1974 in Monte Carlo by the National Opera Orchestra,

conducted by Stanislaw Skrowaczewski. The orchestra consists of: 3 flutes (1st and

2nd also piccolos; 1st, 2nd and 3rd also ocarina), 3 oboes (3rd also english horn; 1st, 2nd

and 3rd also ocarina), 3 clarinets (3rd also ocarina), 3 bassoons (3rd also contrabassoon;

1st, 2nd and 3rd also ocarina), 5 horns, 3 trumpets, 3 trombones, tuba, timpani, tam-tam,

bassdrum, 24 violins, 10 violas, 10 cellos, 8 double basses.

POLYMORPHIA

The piece was composed in summer 1961 in Dziwnowo, city near the Baltic Sea. It

was commissioned by the radio station Norddeutschen Rundfunk in Hamburg. The

first performance took place on the 16th April 1962, conducted by Andrzej

Markowski (the orchestra was that of the radio station which had commissioned the

work). The piece is dedicated to Hermann Moeck, Penderecki’s first western editor. It

is interesting that the composer chose to end the piece, entirely atonal, with a C-major

chord, which generates astonishment and surprise in the listener. (Some of the

information was taken from the booklet of the CD, by Mieczyslaw Tomaszewski).

JUTRZNIA

The word Jutrznia means “morning prayer”. The work is divided into 2 parts: The

entombment of Christ (1969-1970) and The resurrection (1970-1971).

The entombment of Christ, for 2 mixed choirs, solo voices (soprano, mezzo soprano,

tenor, 2 basses) and orchestra, is divided into 5 parts:

1) Tropar, a cappella (gospel telling)

2) Wieliczanije (prayer to Christ with lamentation, which ends with the cry for

mercy)

3) Irmos, a cappella (poetic image of the entombment)

4) Nie wydày mienié Màti (a lyrical address by Christ to the Holy Mother)

5) Stichira (lamentation for Christ’s death and expression of hope in the resurrection).

The orchestra consists of: 4 flutes (1st and 2nd also piccolo; 4th also alto flute), 3 oboes,

3 clarinets (3rd also E flat clarinet), bass clarinet, contrabbass clarinet, 2 alto

saxophones, 2 baritone saxophones, 3 bassoons, contrabassoon, 6 horns, 5 trumpets, 4

trombones, 2 tubas, timpani, 2 triangles, 2 gongs, tubular bells, 4 cymbals, 2 tam-

tams, 2 tom-toms, 2 bongos, small drum, wood headed bass drum, wooden bell,

woodblocks, guiro, claves, whip, javanese gong, 2 ratchets, vibraphone, marimba,

piano, harmonium, bass guitar, 24 violins, 10 violas, 10 cellos, 8 double basses.

It was performed for the first time on the 8th April 1970 in the gothic cathedral of

Altenberg; the soloists, the choirs and the Koln Radio Orchestra were conducted by

Andrzey Markowski.

The resurrection, for solo voices (soprano, mezzo soprano, tenor, 2 basses), boys’

choir, 2 mixed choirs and orchestra, is divided into 8 parts:

1) Ewangelia

2) Stichira

3) Psalm z Troparionem paschalnym

4) Kanon Paschy, Piesni 1, 3, 6, 9

5) Kanon Paschy, Piesn 8

6) Kontakion

7) Oikos

8) Kanon Paschy, fragmenty spiewòw poprzednich.

The orchestra consists of: 4 flutes (1st and 2nd also piccolo; 4th also alto flute), 4 oboes

(4th also english horn), 4 clarinets (3rd also E flat clarinet, 4th also bass clarinet),

contrabbass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, 2

tubas, timpani, 2 triangles, 6 cymbals, crotales, 2 tam-tams, 4 tom-toms, 2 gongs, 2

bongos, bass drum, wood headed bass drum, woodblocks, wooden bell, bells,

glockenspiel, sleigh bells, tubular bells, metal plate bell, 2 claves, mass bells, thunder

machine, 2 hyoshigi, train rail, glass chimes, xylophone, bass xylophone, marimba,

vibraphone, celesta, harmonium, piano, 24 violins, 10 violas, 10 cellos, 8 double

basses.

It was performed for the first time on the 28th May 1971 in the medieval cathedral in

Munster, near Koln; once again the Koln Radio Orchestra was conducted by Andrzej

Markowski.

In some performances (e.g. Krakòw, June 1988), all the 3 Pendereckian oratorios

(Passio et mors domini nostri Jesu Christi secundum Lucam [1963-1966], The

entombment, The resurrection) are made to form one ecumenical work under the

label of Paschal Triptyc. (Mieczyslaw Tomaszewski)

KANON

The canon is a “contrapuntal procedure which consists in making one part start the

melody and then making other parts follow it by imitating the melodic design”

(Enciclopedia Universale Garzanti). In Penderecki’s case, there is a timbric

experimentation more than a melody. The piece can be divided into 5 parts, following

the ABABA structure, as follows:

A1: We hear uncertain sounds, which presage something negative.

B1: There is a succession of confused and strident sounds. The performance is

recorded on 2 magnetic tapes, which are played afterwards.

A2: We hear the A1 recording, over which the orchestra plays.

B2: We hear the B1 recordings of both tapes: the first from 2’00” to 2’58”, the

second from 2’47” to 4’00”. Again, the orchestra plays over the recordings. There are

thus, 3 sonorous sources: the result is incredibly frantic, explosive and disturbing.

A3: the orchestra plays phrases similar to the ones of A1, over the recording of A1.

We realise that this description may seem inappropriate or limited from a

musicological point of view, but our intention is solely to make clear our

observations which follow regarding the film, so this seemed to be the best choice.

The piece was performed for the first time on 21 of sempteber 1962 in Warsaw by the

Rundfunk-Sinfonie-Orchester of Katowice directed by Jan Krenz.

DESCRIPTION OF THE PIECES IN THE SEQUENCES OF THE SHINING

For each piece there are indications of the boundaries of the sequences, in which each

piece is used.

THE SHINING (MAIN TITLE)

1- Beginning – title “The Interview”

2- Danny in his room telepathically hears his parents - Jack throws objects in

the kitchen

3- Jack goes towards Ullman’s office – cut to Halloran driving his car

1- The piece is interrupted before its ending.

2- The piece is heard from 2'41" ca to an imprecise point. This portion of the piece

was mixed here so as to remove the Dies Irae theme, mantaining the other sounds and

the distorted voices, to which other electronic sounds are added. In the DD 5.1 remix,

the volume of music and sound effects is higher than the original mix, so we can't say

whether there are differences in the mix itself.

3- Elements of the piece are heard along with other electronic sounds (see futher:

“Electronic sounds by Wendy Carlos and Rachel Elkind”).

THE AWAKENING OF JACOB

1- Dissolve to Danny in the bathroom – title “Closing Day”

2- Danny is playing with the toy cars – Danny enters the Colorado Lounge and

Wendy says «Danny, everything’s okay!»

3- Shot inside room 237, a few seconds after the cut – dissolve to Halloran

making a phone call

1- The piece is inserted from its beginning to 1’22” ca of the recording, probably

without alterations (the playing speed may be slightly slower). The listening is

interrupted an instant before the appearance of the title. In the DD 5.1 remix, an error

has been made: the listening is interrupted on the title, so the piece goes on to 1’27”

ca. In the USA version, there are 2 sequences with Danny’s doctor (played by Anne

Jackson) before the title: the actress’ voice is heard while the screen is dark, after the

blood vision, and is overlapped with the music, which interrupts at 1’27” ca (or

probably a few seconds further).

2- The piece starts once again from its beginning, but it proceeds until 3’30” ca.

3- The piece starts from its beginning to an imprecise point. Between 3’37” ca and

4’20” ca there are several cuts. Approximately in the whole sequence there are

electronic sounds created by Carlos and Elkind (a whistle, beats), superimposed on

the music.

ROCKY MOUNTAINS

Plongée after the title “Closing Day” – line «What time does the plane leave?»

(Ullman in the Overlook)

LONTANO

1- Danny plays with the darts – line «This is the staff wing of the hotel»

(Ullman, while taking Jack and Wendy to their room)

2- Line «In here is where we keep all the dried goods and the canned goods»

(Halloran to Wendy in the storeroom) – line «and seven kinds of what have you»

(Halloran to Wendy in the same sequence)

3- Line «Missed!» (Wendy to Danny, while playing in the snow) – Wendy

enters Ullman’s office

1- The piece starts at 2’50”, and goes on without alteration to 4’01” ca.

2- The piece is heard as above, but it is interrupted a few seconds before (3’40” ca).

3- The piece is heard once again as above, but goes on further, until 4’44” ca.

MUSIC FOR STRINGS, PERCUSSION AND CELESTA (III MOVEMENT)

1- Line «I’m coming in close» (Wendy to Danny, while running towards the

maze) – title “Tuesday”

2- About 10” after the title “Tuesday”, while Danny rides his tricycle – Jack

extracts the paper from the typewriter

3- Danny opens the door of the Torrance’s apartment in the hotel, before

talking to Jack – title “Wednesday”

1- The piece starts at 2’24”, and goes on without alteration until the first clash of

cymbals (4’43”), which perfectly coincides with the appearance of the title. Jack’s

movements and steps surprisingly follow the tempo of the music.

2- The piece starts when a xylophone sound is heard (2’12”), a few seconds earlier

than in the previous sequence. It then proceeds without alteration until the first clash

of cymbals (as above), which perfectly coincides with the moment in which Jack

extracts the paper. Once again the actor’s movements (Lloyd, in this case) and the

editing follow the music tempo and sounds.

3- The piece starts from the 2nd xylophone sound (0’06”). During the conversation

between Jack and Danny, it is remarkable that their tête-à-tête is accompanied by the

“ups and downs” of Bartók’s music. Furthermore the swish pan on Jack and his head

movement are synchronized with the music. Immediately before Jack’s line «You

know that, don’t you?», the recording has had a cut (approximately between 4’20”

and 4’30”) so that the clash of cymbals (the same described in the other sequences,

4’43”) would coincide with the title’s appearance. In the USA version, after the title

“Monday” there is a sequence in which Wendy and Danny are watching television in

the Colorado Lounge; Danny asks his mother if he could go to his room to take the

toy cars, Wendy gives him permission, Danny gets out of the frame, dissolve to the

door while being opened by Danny. Bartók’s “Music” starts on the dissolve. In the

international version, after the title there is immediately the shot of the door: for this

reason, along with the dissolve, the first xylophone note that introduces the

movement has disappeared.


1- Danny pedals, before encountering the twins – title “Monday”

2- Wendy leaves the Overlook to go and check the snowcat – shot of Jack

sleeping in the storeroom

1- The piece fades in at 0’38” ca. Between 2’05” and 2’25” ca the recording has had

a cut. Before the title, it is possible that the recording has been altered.

2- The piece starts at 0’15” and goes on without alterations until a clash of

percussions (1’36”), which coincides with Grady’s knocking at the door. Here too, in

a few points, the actress’ (Duvall) movements follow the sounds in the music. In

parts, Polymorphia is overlapped with the piece.


1- Line «Danny, everything’s okay!» (Wendy to Danny in the Colorado

Lounge, see The awakening of Jacob) – line «God, I’d give anything for a drink»

(Jack at the bar in the Gold Room)

2- Shot of Halloran’s snowcat – zoom on Wendy’s face

3- Jack stops running in the maze – Danny leaves his hiding place and starts

running again

4- Jack strolls in the maze while Wendy and Danny escape – a few seconds

before the cut to the snowcat moving

5- Jack strolls in the maze before dying – Jack’s corpse

1- The piece starts at 0’10” ca and goes on up to 3’06”. Between 1’25” and 1’35” ca

the recording has had a cut. There are interesting analogies between the music and the

actor’s movements.

2- The piece starts from its beginning and goes on up to 3’06” ca. There are

interesting analogies between the music and the sounds emitted by Danny who

repeats the word «redrum».

3- The piece starts at 0’15” ca, overlapped with Jutrznia – Kanon Paschy, Piesni 1, 3,

6, 9, and proceeds without alterations until fading out at 1’00” ca, while Danny runs.

Before vanishing, the piece gets overlapped with the Kanon.

4- The piece starts at 2’20” ca, a moment before the shot of Wendy and Danny

getting on the snowcat, and goes on uninterruptedly until 2’42” ca.

5- The piece is heard from 3'10" ca to 3'26" ca. We do not exclude the hypothesis that

in this portion of the piece there is an overlapping of fragments from other points of

the same piece.

POLYMORPHIA

1- Wendy enters the Colorado Lounge with the baseball bat – dissolve to Jack

while being dragged to the storeroom

2- Jack is dragged to the storeroom – shot from outside of Wendy opening the

Overlook’s door

3- Wendy stops in front of the snowcat in the garage – title “4 pm”

4- Jack says «Danny boy!» after having killed Halloran – Jack starts running

again

5- Wendy goes up the final step, before seeing the dog-man – Jack looks out

the Overlook

1- The piece starts from its beginning, immediately after the cut, and proceeds

uninterruptedly until a moment before the cut to Danny hallucinated (4’25” ca): here

Stainforth made a cut at the recording. From now on, the piece proceeds once again

without alterations from 4’42” ca to 8’52” ca, until the dissolve. Here Stainforth has

interrupted the piece, just before the C-major chord which concludes Polymorphia

(see the information about the piece): obviously, this chord would have been out of

place compared with the climax of the film. The efficacy of this composition is

exceptional, because in the first minutes in characterized by an emotional crescendo

which corresponds exactly with Wendy’s rising terror. At a couple of points,

Nicholson moves in sync with the music.

2- The piece starts once again from its beginning and proceeds uninterruptedly until a

moment before Wendy puts a foot outside the hotel (4’27” ca). Here we can hear De

natura sonoris no.1. Between 3’33” and 3’55” ca there is a cut in the recording

(while Jack says «go check out the snowcat and the radio and you’ll see what I

mean»). It is ironical that Nicholson, at one point, “imitates” the sound of the

pizzicato heard in Polymorphia by the movement of his fingers and tongue⁴.

3- As soon as Wendy stops in front of the snowcat, we can hear another fragment

from Polymorphia until the title, the same fragment as in the 1st sequence described

above (while Danny telepathically hears his parents and sees the blood): we will hear

it once again when Wendy sees the dog-man. In these moments the piece is

overlapped with De natura sonoris no.1.

4- There are nearly imperceptible sounds (3’33” ca – 3’42” ca), overlapped with

Jutrznia – Ewangelia.

5- Stainforth has used once again the fragment we heard in the 1st and 3rd sequences

described above, which proceeds until fading out a few moments before Jack puts his

foot outside the hotel, before turning the lights on. (4’42” ca – 5’16” ca). Here too the

piece is overlapped with Jutrznia – Ewangelia, and in some moments it seems

hushed, but this is caused quite certainly by volume alterations, not by cuts. While the

two ghosts raise their heads, the Polymorphia fragment has been dubbed over itself,

out of sync by approximately a second, so as to make the music “doubled” and more

confused. At this point in the DD 5.1 remix, there is a mistake, because the fragment

is no longer overdubbed (there is less confusion in the soundtrack, and as a

consequence, there seems to be an emptiness, an absence in the new version by

comparison with the original).

JUTRZNIA – EWANGELIA

1- Zoom over Wendy’s face while reading the word «murder» - imprecise

point while Jack smashes the door

2- Jack hits Halloran – pan to the Overlook’s exterior

3- Wendy sees Halloran’s corpse – Jack says to Danny «I’m right behind you!»

1- The piece starts from its beginning and stops before the voices in the music are

heard (0’10” ca). The impact on the spectator made by perfectly synchronizing the

musical explosion with the zoom and Wendy’s scream is exceptional.

2- The piece starts from its beginning and proceeds without interruptions until the

dog-man raises his head (1’20” ca). Then it starts again from the beginning in sync

with the zoom over the two ghosts (the dog-man and his friend) and proceeds

uninterruptedly until fading out (0’30” ca), during the pan of the Overlook’s outside.

On occasion the piece is overlapped with Polymorphia. Notice how Wendy’s steps

are often in sync with the music. This piece is undoubtedly highly effective when

associated with the zooms, the editing cuts and the actors’ movements.

3- The piece starts once again from its beginning and goes on up to 0’18” ca, as soon

as the swish pan has terminated. Here the piece restarts from the beginning and

proceeds uninterruptedly until the cut after Jack’s line «I’m right behind you!». In the

USA version, immediately after the line, there is a sequence in which Wendy is

running inside the Overlook when it suddenly becomes dark and she sees the guests’

skeletons in the lobby. For this reason “Ewangelia” proceeds for a few seconds

further, stopping at 1’20” ca, and after Wendy’s scream we can hear the Kanon.

JUTRZNIA – KANON PASCHY, PIESNI 1, 3, 6, 9

1- Wendy hits Jack with the bat – a moment before the dissolve

2- A moment before Jack pokes his head through the bathroom door –

imprecise point while Halloran is driving

3- Cut to the blood fall – shot of Danny hiding behind a bush

1- We can hear the piece twice, from 0’02” to 0’08”.

2- The piece is heard from 0’02” to 0’08”, and then once again from 0’02” to 0’12”

ca, when it starts fading out in a few instants.

3- The piece starts exactly on the cut (0’02”) and proceeds uninterruptedly until

0’56”. A moment afterwards, the listening restarts from 0’58” ca to 1’04”. At the

beginning of the sequence, the piece is overlapped with the Kanon, then afterwards

with De natura sonoris no.2.

KANON

1- Imprecise point while Jack smashes the door of the apartment – Jack

screams after wounding himself

2- A moment before Jack switches on the outdoor lights – cut to Wendy in the

kitchen

3- Jack chases Danny (after Wendy’s encounter with the injured guest) – cut to

Danny hiding in the maze

4- Danny runs towards the maze exit – Wendy and Danny escape

1- The piece starts from B1 (see information about the piece), which is interrupted

after a few seconds and starts again immediately (so there is no perception of the cut

in the recording), and proceeds until the end of B1. Here Stainforth made numerous

alterations to the recording, especially by making the string’s screeching constant

(e.g. between 2’19” and 2’25” or similar). The most evident alteration is that when

Jack smashes through the door, pulls out the axe and pokes his head through the hole:

Stainforth has reduced the duration of the pauses to make the music perfectly

coincide with Jack’s movements. From now until the moment when Jack turns the

knob of the bathroom door, the piece has no alterations. A few seconds before Jack

knocks at the bathroom door, B2 starts, and gets interrupted at 6’21”, while Wendy

says «Run!» to Danny. Now we can hear fragments of A1 (0’58” – 1’10” ca), until a

moment after Wendy has picked up the knife from the basin, when we can hear B2

again from 6’50” ca. B2 proceeds until its end, while Wendy says «Jack, please,

don’t!». Now we can hear an imprecise part of A1, until the cut (from inside the

bathroom) to Jack smashing the door: here B2 follows from 3’06” ca, overlapped for

a few seconds with A1, and proceeds until Jack screams (3’37”ca). In the DD 5.1

remix, there are two mistakes: first, the initial seconds of B1, which were heard

before B1 itself restarted, are absent (so the overall perception is that the piece starts

later than in the original mix); second, the Kanon proceeds for a few seconds on the

shot of Halloran, instead of disappearing on the shot of Jack.

2- The mix of the piece is particularly complex, so our analysis is provisional. The

piece starts during A1 (1’30” ca) and proceeds with B1 until 3’00” ca. From 2’19” ca,

there is an overlapping of B1 from 3’10” ca to 4’00”. In some ways, we could say

that Stainforth made an analogue operation to that of Penderecki in B2 (see

information about the piece). In the remix, there is an error: the overlapped portion

starts from an earlier point.

3- The piece starts at 2’00” and goes on until Jack’s line «I’m right behind you!»; we

cannot define the minute of the recording, because it has been substantially altered,

apparently in the same way as in the 1st sequence described above. After Jack’s line

the piece restarts from 2’50” ca, proceeding to 2’58”; from now 3’01” ca a pause has

been removed. From 3’01” the piece proceeds uninterruptedly until 3’59” ca; now we

can hear again the Kanon from 2’40” to 2’50” ca. These 10 seconds are nearly

imperceptible, because reduced in the volume and mixed with Jutrznia – Kanon

Paschy, Piesni 1, 3, 6, 9. In the remix, the Kanon seems to interrupt itself at 4’00”:

the ten “additional” seconds have been erroneously mixed later. After Jack’s line,

there has been a cut: Kubrick has removed a short sequence (visible in the USA

version) in which Wendy is running inside the Overlook when it suddenly becomes

dark and she sees the guests’ skeletons in the lobby. Immediately after Wendy’s

scream, we can hear the Kanon again, from 2’40” ca to 2’50” ca, and it proceeds, and

it proceeds uninterruptedly over the shot of Jack, as we can hear in the international

version of the film.

4- The piece starts from B2 (6’01”), as soon as Danny starts running again, and it

proceeds until the cut to Jack, after Danny and Wendy embrace (7’20”). Then it starts

again from 3’01” ca, and proceeds until fading out at 3’16” ca. Between the shot of

Danny running and that of Wendy going towards the maze entrance, there has been a

cut: Kubrick has removed a shot of Jack uncertain about which way to follow in the

maze. In the USA version this shot is present, so the Kanon has no alterations. In the

international version, on the contrary, this shot is absent and consequently a few

seconds of the music are absent.

MASQUERADE

Jack walks towards the lobby after having thrown the objects in the kitchen –

cut to Halloran calling the ranger

The piece fades in not from the beginning, and proceeds until an imprecise point

before the end, in correspondence to the cut. It seems to come from far off (as a

matter of fact it comes from the Gold Room, which is still far from Jack). The song is

diegetic, because it appears as if being performed by the orchestra in the Gold Room.

MIDNIGHT, THE STARS AND YOU

1- Jack walks towards the Gold Room entrance – line «…hold this for you

there, Jeevesy!» (Jack in the red bathroom)

2- Cut to the interior of the Overlook, after Jack’s death – one of the titles

during the end credits

1- The song starts a few measures after its beginning, precisely after the introduction.

It then proceeds uninterruptedly, until the end.

2- The song fades in during the 1st of the 2 measures of the introduction, to give the

impression that it comes from far off (as a matter of fact, it presumably comes from

the Gold Room, which is not near the wall in shot). It proceeds over the end credits,

until the title with the name of the Property Master and others: from now on, the

soundtrack is filled with applause and voices. The song is diegetic, because it appears

as if being performed by the orchestra in the Gold Room.

IT’S ALL FORGOTTEN NOW

Line «Grady, sir, Delbert Grady» (Grady while removing stains from Jack’s

jacket) – line «Did you know that?» (Grady to Jack in the same sequence)

The song starts from the beginning and goes on until the end; it is diegetic, because it

appears as if being performed by the orchestra in the Gold Room5.

HOME

Line «He is, Mr. Torrance» (Grady to Jack in the bathroom) – cut to Jack

walking towards Ullman’s office

The song starts from its beginning, and then stops before the end, in correspondence

with the editing cut; it is diegetic, because it appears as if being performed by the

orchestra in the Gold Room6.

ELECTRONIC SOUNDS BY WENDY CARLOS AND RACHEL ELKIND

Halloran goes into a trance: the whistle, the beats and other sounds are interlaced with

The awakening of Jacob.

Danny in his room telepathically hears his parents - Jack throws objects in the

kitchen: we can hear low sounds, beats, whistles, distorted screams, overlapped with

a portion of The Shining (Main Title). They go on until the cut to Jack in the kitchen.

In the USA version, after Jack and Grady’s dialogue in the bathroom, there is a

sequence in which Wendy talks to herself, Danny goes into a trance and Wendy tries

to calm him: in these moments we can hear the usual Carlos and Elkind’s sounds,

overlapped with portions of The Shining (Main Title) mixed without the Dies Irae

theme.

Jack goes towards Ullman’s office – cut to Halloran driving his car: again the usual

low sounds, beats, whistles, until the shot of Halloran. Some of these sounds and

especially the voices are contained in The Shining (Main Title). Between the shot of

Jack removing a piece from the receiver and the one of the airplane, we can perceive

a cut in the “music”: this happens because in the USA version at this point there is

another sequence in which Halloran calls the ranger again, and the title “8 am”

appears. Furthermore, in this version, the shot of Halloran in the plane is longer:

Carlos and Elkind’s sounds go on until the dissolve to Jack typing (this shot is absent

from the international version).

LIST OF THE SEQUENCES IN WHICH MUSIC IS PRESENT

Beginning – title “The Interview”: The Shining (Main title).

Dissolve to Danny in the bathroom at home – title “Closing day”: The awakening of

Jacob.

Shot from above after the title “Closing day” – line «What time does the plane

leave?» (Ullman in the Overlook): Rocky Mountains.

Danny plays with the darts – line «This is the staff wing of the hotel» (Ullman, while

taking Jack and Wendy to their room): Lontano.

Line «In here is where we keep al the dried goods and the canned goods» (Halloran

to Wendy in the storeroom) – line «and seven kinds of what have you» (Halloran to

Wendy in the same sequence): Lontano.

Line «I’m coming in close» (Wendy to Danny, while running towards the maze) –

title “Tuesday”: Music for strings, percussion and celesta (III movement).

About 10” after the title “Tuesday”, while Danny rides the tricycle – Jack extracts the

paper: Music for strings, percussion and celesta (III movement).

Line «Missed!» (Wendy to Danny, while playing in the snow) – Wendy enters

Ullman’s office: Lontano.

Danny pedals, before encountering the twins – title “Monday”: De natura sonoris

no.1.

Danny opens the door of the Torrance’s apartment in the hotel, before talking to Jack

– title “Wednsday”: Music for strings, percussion and celesta (III movement).

Danny plays with the toy cars – Danny enters the Colorado Lounge and Wendy says

«Danny, everything’s okay!»: The awakening of Jacob.

Line «Danny, everything’s okay!» (Wendy to Danny in the Colorado Lounge, see

The awakening of Jacob) – line «God, I’d give anything for a drink» (Jack at the bar

in the Gold Room): De natura sonoris no.2.

Halloran goes into a trance: Carlos and Elkind's electronic sounds, which after some

time overlap The awakening of Jacob.

Shot inside room 237, a few seconds after the cut – dissolve to Halloran making a

phone call: The awakening of Jacob.

Zoom over Danny’s face while hearing telepathically his parents’ talk: Carlos and

Ellkind’s electronic sounds.

Jack walks towards the lobby after having thrown the objects in the kitchen – cut to

Halloran calling the ranger: Masquerade.

Jack walks towards the Gold Room entrance – line «…hold this for you there,

Jeevesy!» (Jack in the red bathroom): Midnight, the stars and you.

Line «Grady, sir, Delbert Grady» (Grady while removing stains from Jack’s jacket) –

line «Did you know that?» (Grady to Jack in the same sequence): It’s all forgotten

now.

Line «He is, Mr. Torrance» (Grady to Jack in the bathroom) – cut to Jack walking

towards Ullman’s office: Home.

[USA VERSION. Wendy talks to herself – cut to Jack walking towards Ullman’s

office: Carlos and Elkind's electronic sounds.]

Jack goes towards Ullman’s office – cut to Halloran driving his car: Carlos and

Elkind’s electronic sounds, The Shining (Main Title).

[USA VERSION. Halloran calls the ranger once again – dissolve to Jack typing:

Carlos and Elkind's electronic sounds, The Shining (Main Title).]

Wendy enters the Colorado Lounge with the baseball bat – dissolve to Jack while

being dragged to the storeroom: Polymorphia.

Wendy hits Jack with the bat – a moment before the dissolve: Jutrznia – Kanon

Paschy, Piesni 1, 3, 6, 9.

Jack is dragged to the storeroom – shot from outside of Wendy opening the

Overlook’s door: Polymorphia.

Wendy leaves the Overlook to go and check the snowcat – shot of Jack sleeping in

the storeroom: De natura sonoris no.1 (and partly Polymorphia).

Wendy stops in front of the snowcat in the garage – title “4 pm”: Polymorphia (and

also De natura sonoris no.1).

Shot of Halloran’s snowcat – zoom on Wendy’s face: De natura sonoris no.2.

Imprecise point while Jack smashes the apartment’s door – Jack screams for having

been wounded: Kanon (and also Jutrznia – Kanon Paschy, Piesni 1, 3, 6, 9).

A moment before Jack pokes his head through the bathroom door – imprecise point

while Halloran is driving: Jutrznia – Kanon Paschy, Piesni 1, 3, 6, 9 (and also

Kanon).

Jack hits Halloran – panoramic shot of the Overlook’s outside: Jutrznia – Ewangelia

(and also Polymorphia).

Jack says «Danny boy!» after having killed Halloran – Jack starts running again:

Polymorphia (and also Jutrznia – Ewangelia).

Wendy goes up the final step, before seeing the dog-man – Jack looks out the

Overlook: Polymorphia (and also Jutrznia – Ewangelia).

A moment before Jack switches on the outdoor lights – cut to Wendy in the kitchen:

Kanon.

Wendy sees Halloran’s corpse – Jack says to Danny «I’m right behind you!»:

Jutrznia – Ewangelia (and also Kanon).

Jack chases Danny (after Wendy’s encounter with the injured guest) – cut to Danny

hiding in the maze: Kanon (and also Jutrznia – Ewangelia and Jutrznia – Kanon

Paschy, Piesni 1, 3, 6, 9).

Cut to the blood fall – shot of Danny hiding behind a bush: Jutrznia – Kanon Paschy,

Piesni 1, 3, 6, 9 (and also Kanon and De natura sonoris no.2).

Jack stops running in the maze – Danny leaves his hiding place and starts running

again: De natura sonoris no.2 (and also Kanon).

Danny runs towards the maze exit – Wendy and Danny escape: Kanon (and also De

natura sonoris no.2).

Jack strolls in the maze while Wendy and Danny escape – a few seconds before the

cut to the snowcat moving: De natura sonoris no.2 (and also Kanon).

Jack strolls in the maze before dying – Jack’s corpse: De natura sonoris no.2.

NOTES

¹ Interview with Stainforth by Felix E. Martinez:

http://www.archiviokubrick.it/opere/film/shining/stainforth.html

² Interview with Mario Maldesi, italian dubbing director of Kubrick's films since A

Clockwork Orange:

http://www.archiviokubrick.it/testimonianze/persone/maldesi.html

³ For example: http://www.archiviokubrick.it/risorse/dvdcd/cd.html. Also here: http://

www.imdb.com/title/tt0081505/soundtrack. Furthermore, we found no evidence of

the existence of a Polymorphia recording conducted by Penderecki.

As Stainforth states in the interview (see note 1): "(...) I used a bit of ⁴ Polymorphia

and managed to sort of synch it up with him drumming his fingers on the door".

5 It has been noticed how the title and lyrics of the song make a sort of ironical

comment on what Jack and Grady are telling each other. Jack asks Grady: «…weren’t

you once the caretaker here?». Grady: «Why, no sir. I don’t believe so». However,

later on, according to what Grady tells Jack about himself it seems that Grady really

has been the caretaker. Initially it seems that Grady has somehow forgotten his past

(the lyrics say «the trouble and the pain»). The matter is much more complex,

because according to Grady, Jack has «always been the caretaker», so we could

presume that they are the same person, i.e. there are two Jack Torrances, or two

Delbert Gradys (in this case, Jack himself has forgotten his past).

6 In this case too the lyrics create irony: the song is about the desire of returning home

«when shadows fall», as if Jack wants to return to his home (that is the Overlook,

where he has always dwelt); this will happen after his death during the night.

© Valerio Sbravatti. All rights reserved without the author's permission.

Music in the Shining

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