Pasternak. Kozintsev took Pasternaks translation from several years earlier and used
it for the screenplay. Additionally, the Songs of the Fool were translated by
Samuel Marshak. The film stars Yuri Yarvet as King Lear and Oleg Dal as the Fool.
The VHS co
F, F-sharp, G-sharp, and A, the set [0 1 2 4 5 7 8]. The b section contains the pitches
D, E-flat, F, G-flat, A-flat, and A, the symmetrical set [0 1 3 4 6 7]. At two after ,
the B section enters. The form of the B section is abcbc. The a section, whic
until the tempo change after rehearsal . The music that is not reminiscent of the
Ghost or Hamlet falls outside of the naming themes, functioning to cause unrest
among those watching the play after the plot to murder the player king is revealed.
at the beginning of the cue, but remains at the same pitch level. Halfway between
 and  is the actual moment when the king dies on-stage with a terrible cry.
It is this same cry with which Claudius will die at the end of the film. After , the
The music in this cue presents all of the members of the court and royal
family, so the music is expected to present them as regally as possible. Therefore, the
clarity of tonality is serving to show how good everything is within the court of
major, and there is motion from V to I at the end of the cue, but only in the root
movement, played by the timpani.
The music is clearly diegetic, although the ensemble is never shown onscreen. The instrumentation makes this difficult to believe, as it is
The melody can be divided into two parts: before and after the high D. Before the D,
the pitch collection used is E, F, Gb, G, Ab, and C, which is the set [0 1 2 3 4 8].
After the D, there are two tetrachords used: Bb, Cb, Db, D, the set [0 1 3 4], and E,
Meanwhile, in the next room, Gertrude and Claudius, as well as several others, are
dancing at a party. The music is much more significant that just acting as dance
music. The accompaniment and style show that the music is intended for a public
also introduces a new verticality, F, D-flat, G-flat, [0 1 5]. The last quarter note of the
measure also contains a three-note sonority, F, E-flat, G-flat, [0 1 3]. When the last
two verticalities are combined, they create the set D-flat, E-flat, F, G-fla
triangle, is in a waltz-like 3/4 meter beginning in the key of F major. The cue is in a
rounded binary form with the two halves of nearly even length, nineteen and twenty
measures, respectively. The A section is a parallel period, and the first phrase is
ostinato. The remainder of the instruments do nothing other than play pitches
belonging to that same G minor triad. The pattern changes four measures before 
when the harmony shifts to an AMm 4/2 chord. This chord resolves to an E-flat
minor triad at [
Introduction (Passage of
The First Sighting of Lears
(Untitled 5 measure brass
Beginning of the
The Voice of Truth
The Storm (Beginning)
Dinner at Gonerils
End of the film King Lear.
surrounded by people who keep silent, but are always heard in the soundtrack through
A lesser amount of music was composed for King Lear than for Hamlet.
Many of the cues are short diegetic cues, and even the non-diegetic cues are relatively
Chapter Six King Lear
I have tried several times to draft out a plan for it on paper,
but when you are concerned with Lear, there are many
things that cannot be explained in words.
Kozintsev, King Lear: The Space of Tragedy
Kozintsevs film King Lear, comp
has no power. The music generally works in accordance with the image (i.e., music
assists the on-screen action instead of playing against it), in contrast to The New
Babylon, discussed in earlier chapters, and helps the film achieve this goal. The
course of the film, but at the conclusion, returns to its original form, and is easily
recognizable as the first music heard.
Despite some conflation between the diegetic and non-diegetic worlds,
Shostakovichs music, in this film, fits into either
statement of Hamlets theme is in the key of F-sharp major, symbolically indicating a
V-I cadence from beginning to end of the film.
Shostakovich also proves to be highly skilled at composing film music; his
subtle audible changes in the music are signific
seconds, and is heard in the background when Hamlet approaches one of the
performers. Unfortunately, the volume of the cue is low, and there are too many
unrelated lines to make an accurate transcription of the cue, but the music, like the
Kings Decree, i
timpani rests in the first, plays G in the second, plays either C or E-flat in the third,
and G again in the fourth. The C and E-flat alternate depending on which one was
last heard. The timpani pattern breaks down two measures before  because the
outline, through arpeggiation, the G minor triad, from D down to G and back up.
This happens twice, and then the trumpets play a stepwise ascent, from D to A, all
with pitches belonging to the G melodic minor scale. However, at the end of the cue,
a V-I p
play simultaneously, the chords that are used are G-flat major, B-flat minor, E-flat
minor seventh in third inversion, C major, and G major. The C and G chords
alternate at the end of the cue, giving a sense of repeated V-I motion. Like the
not use the octatonic scale, or the diatonicism of Ophelias music, nor does
Shostakovich use similar types of instrumentation of the naming themes here.
Once again, a subtle change, from collections of octatonic pitches to four-note sets
makes a large dif
The example shows all five string parts, although the two violin parts are doubled in
the rest of the string section. In this first part of the phrase, the pitch collection in the
first violin creates the almost E-flat Phrygian scale, while the second vio
When compared with Example 11 from cue 6, the intervallic content remains the
same although the rhythm in this cue is augmented in places. Egorova speaks of the
Ghosts leitmotive and writes, A remarkable characteristic of the Ghosts leitmotive
is its inva
only the eyes will become visible for an instant; they are full of sorrow. 75 The
Ghosts music conveys the sorrow visible in his eyes. The theme, as Egorova stated,
does resemble a chorale, and then the connection can be made from a chorale to a
piano, seem to give the feeling of an otherworldly presence, which is exactly the
point. The first phrase of the Ghosts naming theme is shown in Example 11.
The example shows that the rhythm consists only of half and whole notes. The
rhythm suggests that
providing the foundation for the Ghost and the upcoming conversation with Hamlet
when all is revealed.
Hamlets encounter with the Ghost is one of the longest musical cues in the
film, spanning over six minutes. Hamlet and the guards, including Horatio, wa
to contain the Ghosts music, and only the Ghosts music. Throughout the cue, there
is not really and change in the rhythms. The only noticeable change is that at
rehearsal , the tuba, instead of the low strings and harp and piano, begins playing
and flow of the music. The funeral bell, pitched at E-flat, is a tritone away from the
A minor string music of Ophelia, and is a minor third away from the C major Theme
of Ophelia. The E-flat is in the same octatonic scale as A and C, and, in another
melodies in the two cues are not the same, an obvious relationship is occurring
between the cues. Additionally, this violin tune is the one that Ophelia sang in the
middle of cue 26, although when she sang, the rhythm was not as clean as in the