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If you are just talking about the four notes, you could find this in tons of scores, by accident.
I thought if this the other day -- I think this is purposeful:
https://www.youtube.com/watch?v=iZ3bnQgBlAc
The opening
5:51 in
Thought it occurs more frequently.
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Posted: |
Aug 22, 2017 - 6:24 PM
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By: |
fmfan1
(Member)
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I've been conservative in what I counted as a reference. The majority of the examples on the list cite the entire first phrase (or multiple phrases) of the Dies Irae tune. There are examples that include only the first few notes, but I only counted them if there was the proper CONTEXT where these notes were clearly referencing "death" or "danger" in a deliberate way. Or like you said, there would be thousands of examples of compositions that stumbled upon the exact 4 notes or the general shape.
Again, I've tried not to include the "iffy" ones on the main list of 201. (Following the list of 201 are the "maybes.")
It's not an exact science to be sure. For example, when John Williams boldly states the 4 notes as Kevin sees the scary neighbor in HOME ALONE, that is almost certainly a reference - a funny one. Likewise, the blaring of the 4 notes when Luke sees the bodies of his aunt and uncle in STAR WARS. The context was certainly there. On the other hand, when the 4 notes appear rapidly in some of the action music of JURASSIC PARK, I currently can't say that it was more deliberate than coincidental, so for now, it is not on the list of 201.
There is a lot of Rachmaninoff on the list. It is well known that he was very interested in the Dies Irae melody and used it in many works. Even so, I have left off the list a number of Rachmaninoff works in which the 4 notes may appear, but because there is no particular emphasis on those passing notes, and because there is no context for using those notes as a reference, I chose not to include them on the main list.
Please let me know if you think any of the 201 examples currently on the list are not references. I want the list to be as accurate as possible.
Also, keep posting other possible examples. (I'll listen to the Morley example tomorrow.)
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Posted: |
Sep 4, 2017 - 1:45 PM
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By: |
mikael488
(Member)
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The soundtracks to La terrificante notte del demonio (Alessandroni, 1971) and I Diabolici convegni (Carlo Savina, 1971) both quote the "Dies Irae" (first eight notes) on electric organ.
An almost complete quote of the tune can be heard in Carlo Pes' score to the Italo western "Professionisti per un massacro" (1967). The tune is carried by an electric guitar and bass,
Furthermore, Sante M. Romitelli's Spara, Gringo, Spara (1968) contains variations on the tune performed on distorted electric guitar, harmonica and electric organ respectively.
Then there's a couple of more examples where the Dies irae is sung but using a different melody:
Dio perdona io no (1968, Carlo Rustichelli)
Il Delitto del diavolo (1970, Angelo Francesco Lavagnino)
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It's in Yoga Hosers, a dire Kevin Smith film. Near the end and in the end credits.
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Posted: |
Nov 9, 2017 - 3:16 PM
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By: |
Les Jepson
(Member)
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A few weeks ago I picked up a discarded British tabloid in a hotel lobby. I thought I could kill some time with the crossword, at least. An article caught my eye with the story that the Moors Murderer, Ian Brady, had requested in his will that music from Stanley Kubrick’s THE SHINING should be played at his funeral. But the authorities had decreed that there would be no music at all.
The article contained a black-and-white mug shot of Brady, a colour photograph of a manic Jack Nicholson, and another colour photograph of an album cover of Berlioz’s “Symphonie Fantastique” – it was the Decca Colin Davis/Royal Concertgebouw version. It stated that Brady had requested the Witches’ Sabbath movement, as used in THE SHINING.
The “Dies Irae” plainchant melody was not mentioned at all, even though that is the only thing in common between the Berlioz piece and Wendy Carlos’ music for THE SHINING, a common denominator shared with a multitude of other pieces down the centuries. Berlioz was nowhere near THE SHINING; he’s far too romantic for Kubrick’s vision for the film. In fact, I tend to think of that particular Symphonie Fantastique movement in film music as the needle-drop in SLEEPING WITH THE ENEMY, otherwise scored by Jerry Goldsmith.
Well, that’s tabloids for you, I suppose. I should have had more sense than to pick up the bloody thing. The crossword was brain-dead, too – a penicillin culture could have done it in thirty seconds.
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