Although most film orchestral scores (such as those for the Star Wars/Star Trek franchises) are contemporary compositions written in the classical idiom, there have been many instances where they are truly classical. Music is used to underscore either partial or complete motion picture. Both versions of Walt Disney’s Fantasia, for example, are essentially animated classical music with vignettes of the sorcerer’s apprentice, mythological creatures, and even dinosaurs by the musicians Dukas, Tchaikovsky, Beethoven and Stravinsky. Other directors and composers of film are content with one or two memorable orchestral works interspersed with original musical cues. Michael Ritchie’s The Bad News Bears (1976) not only features a score composed by Jerry Fielding, but also features the Toreador Song from Georges Bizet’s Song, along with Phil Alden Robinson’s The Greatest of All Fears. i> (2002) contains Romance: Io la vidi e al suosorriso from the opera Don Carlo by Verdi and the aria Nessun dorma< /i> from Puccini’s Turandot
So here are five classical music pieces that have been used as themes in major theatrical productions.
1. Also Sprach Zarazustra, Richard Strauss (2001: Homer Space): Stanley Kubrick’s 1968 science fiction is a classical rarity – a serious and plausible vision of the 21st century, which consists of a score composed only of classical music. Also Sprach Zarazustra with the ambition of Brassia Strauss (thus Spake Zarazustra), which is heard three times in the film, with the film so connected that it is included in an album called Theme from 2001. (By the way, Kubrick decided to use the entire classic score, almost trying to George Lucas doing the same with Star Wars,< /a> but composer John Williams convinced him that this approach wouldn’t work.However, if you listen to Imperial Assault, you’ll notice a certain similarity to Gustav Holst’s Mars: Bringer of War from The Planets.
2. Adagia in G for strings and organ, Tomaso Albinoni & Remo Giazotto (Gallipoli): developed for the sound effect of Peter Weir’s 1981 film about the deadliest World War II battle fought on the Turkish coast, this is Remo Giazotto’s most notable fictional work, which he credits. Tomaso Albinoni, Adagia speciosa in G minor for Organ and strings. According to the report, Giazotto wrote a biography of Albinoni in 1945; he came up with a fragment of one of the composer’s Baroque works – less notes than pages – and cleverly polished the Adagia in G, which is perhaps one of the most famous musical falsehoods he ever composed.
3. Canon and Gigue in D minor, Johann Pachelbel (Ordinary People): Robert Redford’s Academy Award-winning film (adapted from Judith Guest’s novel) about a family coping with the devastating loss of Pachelbel’s famous Canon and Gigue in D major for 3 violins and continues to good effect. Not only is it amazing if sometimes challenging to listen to, but I remember hearing it for the first time in Spain on a rainy October afternoon in 1988. Starting with a single violinist playing a melodic idea, Canon became more involved. as the progress piece and other tools join.
4. “Ode to Joy” from “Symphony No.9 in D- Choral”, Op.125″, L. v. Beethoven (Die Hard): Lately the great Michael Kamen has been fond of mixing various musical styles in film scenes, and since 1988 Die Hard not only a rap song by Run-DMC and a festive modulation (Let It Snow! Let It Snow! Let It Snow! Sammy Cahn and Jules Styne), but shows Beethoven’s “Ode to Joy” both interpolated in the dynamic action of Kamen cues but also “straight” at the end of the credits he did
5. “Largo” from Symphony No. 9 “From the New World” Antonin Dvorak (Clear and Present Danger): Philip Noyce’s second adaptation of the Tom Clancy novel is based on James Horner’s original. score, but in the scene where we see the bodies of the American leaders in Bogota ambushes arriving at the series in Dover Air Force< /a> Base , we hear a military band playing the famous sombar Largo by the Czech composer Dvorak.
