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Posted: |
May 20, 2015 - 5:16 AM
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By: |
Ny
(Member)
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Jerry Fielding's The Gambler, one of my all time favs, which is based around Gustav Mahler's Titan symphony.
The James Caan character plays the symphony on his home stereo in the film, dismissing what the neighbors might think when his bookie remarks on how loud it is. It's use as the basis of the score is a constant reminder of his privileged background, and, with Fielding fore-fronting the piece's more ominous sections, also carries us with him into a spiral of self-destruction. For me this score really belongs in the film, one of the more noticeable and effective I've seen, and I find it hard to imagine it with any other soundscape.
Although none of them were used the Quartet release has three versions of a great rendition of Freres Jacques for the end credits, which was a pastiche of Mahler's own, to quote the wikipedia; "Mahler uses the song, changed from major to minor, thus giving the piece the character of a funeral march. The mode change to minor is not an invention by Mahler, as is often believed, but rather the way this round was sung in the 19th and early 20th century in Austria"
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George Auric's Goodbye Again (1961) uses Johannes Brahms' Symphony No.3 in F major, Op.90 - 3rd movement but whether this meets your criteria ...
Mitch
And a fine, fine score it is. Thor, do yourself a favour and purchase the download. Best few bucks you'll ever invest.
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Sarde's Tess borrows heavily from Brahms Symphony #3 in the primary theme - more than as a whole. And I don't think Babe has been mentioned, with Saint-Saen's organ symphony reworked.
There's a weird patch of Bartok's 2nd (?) piano concerto in Fielding's Alfredo Garcia, but again doesn't sound overall like he's channeling Bartok. He is definitely reworking ideas from Stravinsky's Histoire du Soldat throughout his score for Straw Dogs - so much so that I gave up on listening to the album and just returned to the Stravinsky.
Bruce Broughton integrates Tchaikovsky's Nutcracker throughout Eloise at Christmastime.
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Charles Fox's really wonderful score for "Foul Play" integrates several key phrases and melodies from "The Mikado" throughout - and in the climax, the underscoring for the frantic car ride to the opera house meshes and interweaves with an actual performance of "The Mikado", as Fox uses Sullivan's music and motives, and moves them into and throughout the sequence, applying them in different ways, creating 'pop' versions of some of them, and housing it with additional original material written in a similar style - it's really a wonderful, and smartly scored segment - the music is source, commentary, and underscoring all at once. He also uses the opening of "The Mikado" Overture throughout the score as a kind of suspense motif, which works by itself, but also intelligently hints at the movie's conclusion.
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