･ Although by the mid ’60s the use of pre-existing classical music in films had already been deployed with sensitivity and humour by such directors as Alexander Mackendrick Jean-Luc Godard Pier-Paolo Pasolini Glauber Rocha Richard Lester Ken Russell and Ingmar Bergman Stanley Kubrick was the first to give it a central role in an entire film. 2001: A Space Odyssey and A Clockwork Orange used swathes of Also Sprach Zarahustra The Blue Danube Waltz Ligeti’s Lux Aeterna and Beethoven’s Ninth Symphony to famous dramatic effect with Kubrick explaining Unless you want a pop score I don’t see any reason not to avail yourself of the great orchestral music of the past and present.
･ Coming into vogue after Kubrick the system offered the director flexibility and control. It was a valid stylish way of clarifying the underlying emotion of a scene or establish mood; a way to compliment the film narratively theatrically structurally and conceptually.
･ Instrumental classical works or traditional song are featured in A Hard Days Night Help! Privilege Head The Man Who Fell to Earth Lisztomania and Absolute Beginners and all say something of pops relationship with the classics. Bowie actually performed the Holst piece live in 1966. Modest Mussorgskys Pictures at an Exhibition was the subject of an adaptation by Emerson Lake and Palmer and was showcased in a fascinating live performance film of the group shot at the Lyceum Ballroom in 1970 (though the film was not given a cinematic release until 1973). ELPs contemporaries Yes drew inspiration from Igor Stravinsky and paid homage by using the final movement from The Firebird as introductory music at their concerts from 1972 and for decades on.

DISC ONE:
BREATHLESS (A BOUT DE SOUFFLE) (1960)
1. CLARINET CONCERTO K 622 - RONDO ALLEGRO - W.A. Mozart
BILLY LIAR (1963)
2. SONG OF THE CLYDE - Kenneth McKellar
3. CONCERTO SYMPHONIQUE NO. 4， OP. 102 - Henry Litolff
A HARD DAY’S NIGHT (1964)
4. A NATION ONCE AGAIN - John McCormack
THE GOSPEL ACCORDING TO ST. MATTHEW (1964)
5. VIOLIN SONATA NO. 1 IN G MINOR， BWV 1001: I. PRÄLUDIUM - Bach
BLACK GOD， WHITE DEVIL (DEUS E O DIABO NA TERRA DO SOL) (1964)
6. BACHIANAS BRASILEIRAS NO. 5: ÁRIA (CANTILENA) (Bidu Sayao: soprano) - Heitor Villa-Lobos
THE IPCRESS FILE (1965)
7. SERENADE NO. 13 FOR STRINGS IN G MAJOR， K. 525 EINE KLEINE NACHTMUSIK: II. ROMANCE - Mozart
THE DEBUSSY FILM (1965)
8. DANSE PROFANE - Claude Debussy
HELP! (1965)
9. LOHENGRIN (PRELUDE TO ACT III) - Richard Wagner
10. 1812 OVERTURE， OP. 49 (EXCERPT) - Tchaikovsky
11. SYMPHONY 9 (ODE TO JOY) (EXCERPT) - Beethoven
12. BARBER OF SEVILLE - OVERTURE (EXCERPT) - Rossini -
PERSONA (1966)
13. ADAGIO FROM CONCERTO NO. 2 IN E MAJOR FOR VIOLIN， STRINGS AND CONTINUO， BWV 1042 - Bach
SECONDS (1966)
14. THAT OLD BLACK MAGIC - Andre Previn
WRONG BOX (1966)
15. MINUET IN G - Beethoven
GEORGY GIRL (1966)
16. VIBRATION - Tom Dissevelt & Kid Baltan
WEEKEND (1967)
17. ALLEGRO FROM PIANO SONATA NO.18 IN D MAJOR， K576 ‘HUNT’ - Mozart

DISC TWO:
PRIVILEGE (1967)
1. MESSIAH - Handel
INTERLUDE (1968)
2. RACHMANINOFF SYMPHONY NO. 2 - 3RD MOVEMENT (EXCERPT) - Rachmaninoff
TOBY DAMMIT (1968)
3. RUBY - Ray Charles
THE IMMORTAL STORY (1968)
4. GNOSSIENNES NO 3 LENT - Erik Satie
5. TROIS MORCEAUX EN FORME DE POIRE NO. 6 - Erik Satie
6. GYMNOPEDIES NO 2 LENT & TRISTE - Erik Satie
DELIUS - A SONG OF SUMMER (1968)
7. A SONG OF SUMMER - Delius
ROSEMARY’S BABY (1968)
8. FÜR ELISE - Beethoven
HEAD (1968)
9. KUNSTLERLEBEN (ARTIST’S LIFE)， OP.316 - Johann Strauss II
THE ITALIAN JOB (1969)
10. THE BRITISH GRENADIERS - Wally Stott
MIDNIGHT COWBOY (1969)
11. THE LAST ROUND-UP - Norman Luboff Choir
TRISTANA (1970)
12. ÉTUDE NO 12 IN C MINOR， OP 10 ’REVOLUTIONARY’ - Chopin
FIVE EASY PIECES (1970)
13. CHROMATIC FANTASY & FUGUE - Bach
14. CHROMATIC FANTASY & FUGUE - Bach
STRAW DOGS (1971)
15. CARO NOME FROM RIGOLETTO - Verdi
SOLARIS (1971)
16. PRELUDE BWV639 ’ICH RUF’ ZU DIR， HERR JESU CHRIST’ - Bach
17. WELL TEMPERED CLAVIER - BOOK II : PRELUDE & FUGUE NO. 12 IN F MINOR - Bach

DISC THREE:
A CLOCKWORK ORANGE (1971)
1. SYMPHONY NO. 9 - SECOND MOVEMENT - Ludwig Van Beethoven
HAROLD & MAUDE (1971)
2. PIANO CONCERTO NO. 1 (EXCERPT) - Tchaikovsky
THE GODFATHER (1972)
3. PASSACAGLIA IN C MINOR， BMV 582 - Bach
PICTURES AT AN EXHIBITION (Modest Mussorgsky) (1970-1973)
4. PROMENADE - Mussorgsky
5. GNOMUS- Mussorgsky
6. THE HUT ON FOWL’S LEGS (THE HUT OF BABA YAGA) - Mussorgsky
YES - YES SONGS (1973)
7. THE FIREBIRD - COLLAPSE OF KASHCHEI’S PALACE AND DISSOLUTION OF ALL ENCHANTMENTS / REANIMATION OF THE PETRIFIED PRISONERS / GENERAL REJOICING - Igor Stravinsky
THE MAN WHO FELL TO EARTH (1975)
8. PLANETS : MARS - Holst
LISZTOMANIA (1975)
9. HARMONIE POÈTIQUES ET RELIGIEUSES: NO. 7， FUNÉRAILLES - Liszt
ANNIE HALL (1977)
10. SYMPHONY NO. 41 IN C MAJOR， K551 ’JUPITER’ - MOLTO ALLEGRO - Mozart
PINK FLOYD : THE WALL (1982)
11. THE LITTLE BOY THAT SANTA CLAUS FORGOT - Vera Lynn
ABSOLUTE BEGINNERS (1986)
12. THE SLEEPY LAGOON - Eric Coates
WITHNAIL & I (1987)
13. PIANO SONATA NO. 21 IN B FLAT MAJOR， D960 - THIRD MOVEMENT - Schubert
TOPSY TURVY (1999)
14. THREE LITTLE MAIDS FROM SCHOOL ARE WE (FROM THE MIKADO) - Gilbert & Sullivan
PETER WARLOCK - SOME LITTLE JOY (2005)
15. SWEET AND TWENTY - Peter Warlock
16. REST SWEET NYMPHS - Peter Warlock
17. SLEEP - Peter Warlock
LAMBERT & STAMP (2014)
18. DANCE FOR THE FOLLOWERS OF LEO (FROM HOROSCOPE BALLET SUITE) - Constant Lambert

･ During The Beatles’ Help! Paul McCartney is miniaturised to the strains of Wagner， while in a dank Chiswick pub cellar， the singing of Beethoven’s Ode to Joy saves Ringo from an escaped tiger. In Hal Ashby’s black comedy Harold & Maude， Harold is obsessed by death， and likes to stage elaborate fake suicides to get the attention of his distracted mother， including an attempted drowning to Tchaikovsky’s Piano Concerto No. 1. During The Godfather， the baptism sequence， interspersed with scenes of the brutal assassinations of the heads of the five families opposing the Corleones is underscored by the intensity of Bach’s organ work Passacaglia in C Minor. On a lighter， note， Michael Caine’s Harry Palmer during the Ipcress File chooses Mozart to cook by， a musical enthusiasm shared by Jean Seberg， immortalised by Godard in Breathless. These are but a few of the indelible scenes complemented by the classical music featured in this presentation.