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Ian Pace
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« Reply #45 on: 11:04:12, 17-09-2007 » |
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I can't listen to the first four notes of the prelude to Mendelssohn's "Elijah" (after the opening declamatory recitative-thing) without thinking of "Jaws".
The composers who surely ripped off the theme from Jaws most blatantly are Bellini and Liszt - have a look at the following passage from the latter's Reminiscences de Norma  |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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Ruth Elleson
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« Reply #46 on: 11:07:54, 17-09-2007 » |
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I'll have to look at them later, Ian - I can't access hosted images on my work PC so will look this evening when I get home.
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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IgnorantRockFan
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« Reply #47 on: 11:11:31, 17-09-2007 » |
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This happens constantly to me, as the sort of music I usually listen to is by bands that go out of their way to show off their classical influences. I could fill an entire page without too much effort... One which did surprise me recently was hearing Liszt's Rapsodie Hongroise No.2 and thinking, "hmmm... based on Cohen's Famous Blue Raincoat"  |
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Allegro, ma non tanto
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Ron Dough
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« Reply #48 on: 11:18:00, 17-09-2007 » |
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As the Brahms Clarinet Sonata in F mi wafts from the radio, I admire the composer's prescience in anticipating so accurately the opening of Stranger on the Shore.
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ahinton
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« Reply #49 on: 12:01:36, 17-09-2007 » |
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I can't listen to the first four notes of the prelude to Mendelssohn's "Elijah" (after the opening declamatory recitative-thing) without thinking of "Jaws".
The composers who surely ripped off the theme from Jaws most blatantly are Bellini and Liszt - have a look at the following passage from the latter's Reminiscences de NormaBrilliant! And quite right too, of course. You may be interested (or more likely utterly dismayed) to find that I once made an arrangment of that entire Liszt paraphrase for viola and double bass and called it Après une Lecture de Liszt (I began work on it purely as a joke and without expectation of seeing it through to the bitter end but the joke rather backfired on me); now if you weren't quite certain that I was an utter nutcase before, you surely know now! Best, Alistair |
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perfect wagnerite
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« Reply #50 on: 12:57:10, 17-09-2007 » |
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... and how touching that Haydn should have started the Agnus Dei of the Harmoniemesse with God Save the Queen .
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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autoharp
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« Reply #51 on: 13:00:51, 17-09-2007 » |
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if you weren't quite certain that I was an utter nutcase before, you surely know now!
Thanks for that confirmation, Alistair. |
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Jonathan
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« Reply #52 on: 13:06:52, 17-09-2007 » |
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I can't listen to the first four notes of the prelude to Mendelssohn's "Elijah" (after the opening declamatory recitative-thing) without thinking of "Jaws".
The composers who surely ripped off the theme from Jaws most blatantly are Bellini and Liszt - have a look at the following passage from the latter's Reminiscences de NormaBrilliant! And quite right too, of course. You may be interested (or more likely utterly dismayed) to find that I once made an arrangment of that entire Liszt paraphrase for viola and double bass and called it Après une Lecture de Liszt (I began work on it purely as a joke and without expectation of seeing it through to the bitter end but the joke rather backfired on me); now if you weren't quite certain that I was an utter nutcase before, you surely know now! Best, Alistair Alistair, was it ever performed in public? Personally, I would be most interested to hear it! (Note to self - have another go at the Norma paraphrase...) |
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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roslynmuse
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« Reply #53 on: 13:10:10, 17-09-2007 » |
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Jaws also makes an early appearance in Britten's Sinfonia da Requiem...
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Notoriously Bombastic
Posts: 181
Never smile at the brass
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« Reply #54 on: 19:20:29, 17-09-2007 » |
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Strauss was even more of a Nietzscheian than we thought: the main love theme from Ein Heldenleben is shamelessly stolen from the, er, love theme from John Williams' fine score for Superman II (an exact copy for the first six notes, and identical harmony).  T & V surely? (although the euphonium does quote it in Ein Heldenleben) Or am I thinking of the love theme from Superman I? NB (And on an off topic note, I recently read a short SF story called Übermensch - the rocket crash landed in the wrong country, and Kal El ended up wearing a brown costume with a rather different symbol on the front...) |
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« Last Edit: 19:24:49, 17-09-2007 by Notoriously Bombastic »
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Notoriously Bombastic
Posts: 181
Never smile at the brass
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« Reply #55 on: 19:37:40, 17-09-2007 » |
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Jaws also makes an early appearance in Britten's Sinfonia da Requiem...
New World too... NB |
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ahinton
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« Reply #56 on: 20:16:10, 17-09-2007 » |
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if you weren't quite certain that I was an utter nutcase before, you surely know now!
Thanks for that confirmation, Alistair. My (albeit dubious) pleasure - although I rather doubt (given the particular circumstances) that you or indeed anyone else really needed such confirmation... Best, Alistair |
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ahinton
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« Reply #57 on: 20:18:09, 17-09-2007 » |
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I can't listen to the first four notes of the prelude to Mendelssohn's "Elijah" (after the opening declamatory recitative-thing) without thinking of "Jaws".
The composers who surely ripped off the theme from Jaws most blatantly are Bellini and Liszt - have a look at the following passage from the latter's Reminiscences de NormaBrilliant! And quite right too, of course. You may be interested (or more likely utterly dismayed) to find that I once made an arrangment of that entire Liszt paraphrase for viola and double bass and called it Après une Lecture de Liszt (I began work on it purely as a joke and without expectation of seeing it through to the bitter end but the joke rather backfired on me); now if you weren't quite certain that I was an utter nutcase before, you surely know now! Best, Alistair Alistair, was it ever performed in public? Personally, I would be most interested to hear it! (Note to self - have another go at the Norma paraphrase...) Not yet, I fear; it was written totall on spec for Levine Andrade and Corrado Canonici but they've not yet found an opportunity to perform it... Best, Alistair |
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ahinton
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« Reply #58 on: 20:20:26, 17-09-2007 » |
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And since Ian has sensibly drawn our attention Lisztwards here, may I mention his (that's to say Liszt's) Bénédiction de Dieu dans la Home on the Range? - and, while we're about it, one could say that the vital first four notes were also copied by Brahms for the big F major theme in the first movement of his first piano concerto, thereby bringing a whole new meaning to the expression "Brahms and Liszt"...
Best,
Alistair
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« Last Edit: 09:15:19, 18-09-2007 by ahinton »
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autoharp
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« Reply #59 on: 09:02:40, 18-09-2007 » |
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if you weren't quite certain that I was an utter nutcase before, you surely know now!
Thanks for that confirmation, Alistair. My (albeit dubious) pleasure - although I rather doubt (given the particular circumstances) that you or indeed anyone else really needed such confirmation... Best, Alistair Well . . . you said it . . . |
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