Visiting Copley Symphony Hall to see the San Diego Symphony probably does not sound like an activity that most college students would include as a “”must do”” on their list of New Year’s resolutions. However, if the symphony’s “”2001 Extravaganza”” show was any indication of the intrigue, pleasure and relaxation that the symphony can produce, then pinching pennies for a night of live music would be a worthy investment.

Conducted by the widely praised Jung-Ho Pak, “”2001 Extravaganza”” consisted of five pieces, four of which were made famous by director Stanley Kubrick’s classic film “”2001: A Space Odyssey.””

The performance, true to the film’s soundtrack, included a variety of genres and composers ranging from Johann Strauss, Jr.’s well-known waltz “”On the Beautiful Blue Danube”” to Gyorgy Ligeti’s groundbreaking “”Atmospheres,”” which contains no traditional elements, such as harmony and rhythm.

The first piece performed, “”Fanfare from 2001″” by Alex North, was written explicitly for Kubrick’s landmark movie but ironically never made it into “”A Space Odyssey;”” Kubrick felt it did not truly mesh with the film. Kubrick was right — the piece’s chiming climax was bearable, soft and almost pleasant — and Strauss’ “”On the Beautiful Blue Danube”” had already satisfied the filmwatcher’s musical sweet tooth. Including another overly enchanting song such as “”Fanfare”” would have overdone the contrast that “”A Space Odyssey”” creates between disturbing visuals and pleasant soundtracks.

The closing piece, Richard Strauss’ “”Also Sprach Zarathustra,”” is the source of the notorious five notes that accompany the film’s opening scene, which have been included in every parody of a “”space”” film since “”A Space Odyssey.”” Moviewatchers witness but a fraction of the song, however, which continues for almost 30 minutes after the five famous notes are played.

Surprisingly, the piece was actually composed as a symphonic poem that was intended to narrate the theories of German philosopher Friedrich Nietzche. Its bellowing use of trumpets sharply contrasts its quiet, long descent into silence — a contrast intended to symbolize the triumph of man and the eventual mystery of his fate. Strauss’ waltz could not have matched the movie more perfectly; its presence on the film’s soundtrack pushes one to admit to Kubrick’s brilliance.

Perhaps even more brilliant were the San Diego Symphony’s perfectly honed rendition of this “”space”” parody classic and the decision to honor Kubrick by performing this well-chosen collection of music.