Ferre

Thanks to all of you. That's right, pixie_twinkle. It's a post that I wrote in my blog (http://www.retroklang.com/?p=642 ... sorry, it's in spanish) in wich I draw an imaginary circle that connects several things. That circle "starts" with Strauss' "Zarathustra" and, from that point to Nietzsche's "Also spracht Zaratustra", Alan Moore's "Miracleman" comicbook, "Superman" (the comicbook), "Superman" (the movie" and ends in the same pints in wich it started: Strausss' "Also spracht Zaratustra". I thought that Williams had this connections (except Moore's Miracleman, of course) in mind when he included the Strauss musical motiv. In a comment, someone expressed that the inclusion of the Zaratustra excerpt, that is obvious in my opinion (same structure, the same ascension to C major, very similar orquestal colours) might be a coincidence, and I doubted that. So I've asked your opinons . Macrea's answer is illuminating. The point is clear know: a Salkind's request of a resemblance to Kubrick's "2001". Again, thanks for your kind help, Ferre

I'd like to know what do you think about John Williams' reasons for the inclusion of the beginning of Richard Strauss' Thus Spoke Zarathustra (the sunrise) in the beginning of The Planet Krypton track in Superman soundtrack. Maybe you think he'd got a reason or maybe you think is only a coincidence. I think that Williams made a logical path like this: Superman --> Superman (Übermensch) theory --> Nietzsche --> Zarathustra --> Strauss' work What do you think? Greetings from Spain and many thanks for your contributions, Ferre (Sorry about my poor english)