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Nov. 6th, 2005 11:33 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
which_chickI wound up driving to Mt. Wolf yesterday to attend the York Symphony Orchestra with brother Joe, an event notable because they played the overture to Rossini's La Gazza Ladra (The Thieving Magpie). That didn't ring any damn bells for me in the program book and though the director pointed out that this was also the music for Heckyll and Jeckyll, I haven't ever paid much attention to Heckyll and Jeckyll, so I got no twinge of recognition there, either. When they got to playing it, though, I knew the music quite well. Along with that other stuff, it was also, also, also the music from Clockwork Orange although the director guy did not mention that for some unaccountable reason. It's great music for beating people up by. Not, mind, that I do anything of the sort. If I did, though, I'd certainly be able to assemble a suitable soundtrack o' classical music.
Classical music occasionally goes places for me that it probably is not supposed to go. The overture from La Gazza Ladra is one example. I bet it's not just me, either. I bet that The William Tell Overture is more familiar to most of you as "the Lone Ranger music". While I've seen the official opera version, The Barber of Seville, for me, includes Elmer Fudd with flowers growing out of his head. I am probably not alone in that perception of the piece, either. Similarly, Wagner's Ride of the Valkryies, in my mind, wavers between Kill Da Wabbit and I love the smell of napalm in the morning!. And, well, I was in for a hell of a shock when I went to see Carmen the other year at the Baltimore Opera. Nobody had told me, you see, that I'd be far more familiar with the bullfighter music from Act IV in Carmen as the theme song of The Bad News Bears television show. The Toreador Song, also from Carmen, was, iirc, the movie theme for The Bad News Bears. (Carmen, the actual opera, does not contain any baseball, so I found the whole thing cognitively dissonant.) In my mind, Also Sprach Zarathustra is forever the music from 2001: A Space Odyssey. The contested Tocatta and Fugue in D Minor, which might not be by Bach is so inextricably linked to horror movies that I can't think of using it for any other purpose (except for humor) these days. If this is what people mean by culture, by all means, let's have more of it... but I cannot guarantee that I'll ever look at Rossini's La Gazza Ladra (It's an opera. Presumably there's a plot and words and everything.) without expecting to have four hoodlums in white along to provide the ultraviolence. I'll still be looking for the little league players in Carmen. The William Tell Overture, whenever I hear it, is so that you can return with us now to those thrilling days of yesteryear. That's just how it's gonna be.
Also, the pie came out pretty well. I think we're homing in on a solution to the pie. I need one more iteration to check the current theory and if that works, I will have it. Eu(almost)reka!
Classical music occasionally goes places for me that it probably is not supposed to go. The overture from La Gazza Ladra is one example. I bet it's not just me, either. I bet that The William Tell Overture is more familiar to most of you as "the Lone Ranger music". While I've seen the official opera version, The Barber of Seville, for me, includes Elmer Fudd with flowers growing out of his head. I am probably not alone in that perception of the piece, either. Similarly, Wagner's Ride of the Valkryies, in my mind, wavers between Kill Da Wabbit and I love the smell of napalm in the morning!. And, well, I was in for a hell of a shock when I went to see Carmen the other year at the Baltimore Opera. Nobody had told me, you see, that I'd be far more familiar with the bullfighter music from Act IV in Carmen as the theme song of The Bad News Bears television show. The Toreador Song, also from Carmen, was, iirc, the movie theme for The Bad News Bears. (Carmen, the actual opera, does not contain any baseball, so I found the whole thing cognitively dissonant.) In my mind, Also Sprach Zarathustra is forever the music from 2001: A Space Odyssey. The contested Tocatta and Fugue in D Minor, which might not be by Bach is so inextricably linked to horror movies that I can't think of using it for any other purpose (except for humor) these days. If this is what people mean by culture, by all means, let's have more of it... but I cannot guarantee that I'll ever look at Rossini's La Gazza Ladra (It's an opera. Presumably there's a plot and words and everything.) without expecting to have four hoodlums in white along to provide the ultraviolence. I'll still be looking for the little league players in Carmen. The William Tell Overture, whenever I hear it, is so that you can return with us now to those thrilling days of yesteryear. That's just how it's gonna be.
Also, the pie came out pretty well. I think we're homing in on a solution to the pie. I need one more iteration to check the current theory and if that works, I will have it. Eu(almost)reka!
