Plagiarism....
Ördög
Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
was surpised, and not a little annoyed that James Horner felt it
necessary to quote, almost directly, from symphony 5 by Shostakovich.
Can anyone else recall any other film where this is quite so blatant?
MiNe 109
<81297f0b-6ce2-4f1f...@z31g2000vbs.googlegroups.com>,
Ördög <jansf...@gmail.com> wrote:
Other than by John Williams?
Stephen
Dennman6
Well my goodness, in rap "music" this is called "sampling" :)
Dennis "Miggity-mack-daddy" Forkel
William Sommerwerck
Bennie was guilty of it, quoting Bartok in "Journey to the Center of the
Earth".
Ördög
> In article
> <81297f0b-6ce2-4f1f-87f9-18f825e6d...@z31g2000vbs.googlegroups.com>,
>
> Ördög <jansfarr...@gmail.com> wrote:
> > ....in film music, that is.
>
> > Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
> > was surpised, and not a little annoyed that James Horner felt it
> > necessary to quote, almost directly, from symphony 5 by Shostakovich.
> > Can anyone else recall any other film where this is quite so blatant?
>
> Other than by John Williams?
>
> Stephen
Let me guess. Do you mean "Close Encounters of the Third Kind"?
Correct me if I'm wrong, but "when you wish upon a star" is credited,
at least on the DVD issue. Does that really qualify as plagiarism?
Horner credits no one but himself and that's what really irritates me.
Williams quotes from 'Dies Irae' in the same film, but many
"legitimate"composers have done that (Tchaikovsky, Rakhmaninov, etc.)
Ördög
I suppose I should have said "classical plagiarism". Sorry.
MiNe 109
<038c9558-b883-4406...@n18g2000vbq.googlegroups.com>,
Ördög <jansf...@gmail.com> wrote:
> On Jan 29, 9:20 pm, MiNe 109 <smcelr...@POPaustin.rr.com> wrote:
> > In article
> > <81297f0b-6ce2-4f1f-87f9-18f825e6d...@z31g2000vbs.googlegroups.com>,
> >
> > Ördög <jansfarr...@gmail.com> wrote:
> > > ....in film music, that is.
> >
> > > Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
> > > was surpised, and not a little annoyed that James Horner felt it
> > > necessary to quote, almost directly, from symphony 5 by Shostakovich.
> > > Can anyone else recall any other film where this is quite so blatant?
> >
> > Other than by John Williams?
> >
> > Stephen
>
> Let me guess. Do you mean "Close Encounters of the Third Kind"?
> Correct me if I'm wrong but "when you wish upon a star" is credited,
> at least on the DVD issue. Does that really qualify as plagiarism?
No. He's known for borrowing, adapting, imitating the style of other
works. I don't mind this myself.
> Horner credits no one but himself and that's what really irritates me.
> Williams quotes from 'Dies Irae' in the same film, but many
> "legitimate"composers have done that (Tchaikovsky, Rakhmaninov, etc.)
A good composer borrows, a great composer steals.
Stephen
El Klauso
( i.e. a Walton-style march for the finale of the first "Star Wars,"
a Prokofiev-style scherzo for the asteroid chase scene in the second
"Star Wars" film, etc.) The "Can You Read My Mind" sequence from
"Superman" is probably the closest that Williams has come to an
outright lift. Give a listen to this Williams theme, then to the main
theme of Richard Strauss' "Death and Transfiguration." Then, if you
will, go on to try Klemperer's "Merry Waltz" - the "B" section - and
you'll realize Williams was not the first person to drink from that
particular well...
Zimmer included a very close paraphrase of Holst's "Mars" in the
opening battle scene of "Gladiator," and I could cite many more. The
closeness of a film composer's creation to a classical original can be
angering to some, clever to others; but generally, motion picture
composers paraphrase concert music, as opposed to copying it.
Kip Williams
> In article
> <81297f0b-6ce2-4f1f...@z31g2000vbs.googlegroups.com>,
> �rd�g<jansf...@gmail.com> wrote:
>
>> ....in film music, that is.
>>
>> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
>> was surpised, and not a little annoyed that James Horner felt it
>> necessary to quote, almost directly, from symphony 5 by Shostakovich.
>> Can anyone else recall any other film where this is quite so blatant?
>
> Other than by John Williams?
Oh, yes. THE RIGHT STUFF is a lovely movie, but it drives me crazy to
hear it -almost- quoting the Tchaikovsky violin concerto and then
suddenly veering off in another direction. Over and over. Nobody is
fooled by the deception unless they don't know the original at all.
Kip W
Ördög
> > rd g<jansfarr...@gmail.com> wrote:
>
> >> ....in film music, that is.
>
> >> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
> >> was surpised, and not a little annoyed that James Horner felt it
> >> necessary to quote, almost directly, from symphony 5 by Shostakovich.
> >> Can anyone else recall any other film where this is quite so blatant?
>
> > Other than by John Williams?
>
> Oh, yes. THE RIGHT STUFF is a lovely movie, but it drives me crazy to
> hear it -almost- quoting the Tchaikovsky violin concerto and then
> suddenly veering off in another direction. Over and over. Nobody is
> fooled by the deception unless they don't know the original at all.
>
> Kip W
And that was the point I was trying to make. (I'm not very good at
this yet) How many viewers of "Troy" might think, 'Wow, isn't Horner a
wonderful composer!?! - not realising that he had pinched most of his
stuff from a *really* wonderful composer.
Ördög
>
> - Show quoted text -
Yes indeed. Handel "borrowed" now and then - but did he ever repay his
debts? Of course, he wasn't the only one and it was considered
acceptable at that time. But at that time, copyright didn't exist. Had
he (Handel) been alive today he would have been prosecuted for
stealing intellectual property, or something similar. So, with this in
mind, is Horner great or good? Or merely a plagiarist? Imitating a
composer's style is common practice (""the sincerest form of
flattery"), stealing intellectual property is quite wrong, IMO.
Matthew B. Tepper
letters to be typed in news:ok01p.10008$gx6....@newsfe22.iad:
> MiNe 109 wrote:
>> In article
>> <81297f0b-6ce2-4f1f...@z31g2000vbs.googlegroups.com>,
>> Ördög<jansf...@gmail.com> wrote:
>>
>>> ....in film music, that is.
>>>
>>> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
>>> was surpised, and not a little annoyed that James Horner felt it
>>> necessary to quote, almost directly, from symphony 5 by Shostakovich.
>>> Can anyone else recall any other film where this is quite so blatant?
>>
>> Other than by John Williams?
>
> Oh, yes. THE RIGHT STUFF is a lovely movie, but it drives me crazy to
> hear it -almost- quoting the Tchaikovsky violin concerto and then
> suddenly veering off in another direction. Over and over. Nobody is
> fooled by the deception unless they don't know the original at all.
That's my #1 pet peeve among thefts of this sort. Although I also think
that Marvin Hamlisch should be forced to give his Oscar for "The Sting" to
the heirs and assigns of Scott Joplin.
I can't help but feel that the Rodgers & Hammerstein tune "People Will Say
We're in Love" has been ripped off bigtime not merely once, but TWICE by
high-profile pop artists: the the verse in Melanie's "I've Got a Brand New
Pair Of Roller Skates," the chorus in Annie Lennox' "Constant Craving."
I was, by the way, delighted when Michael Jackson was sued by the Cleveland
Orchestra after he stole a portion of their recording (the one with Szell,
I think) of the Beethoven 9th and used it in "Will You Be There." There
was an out-of-court settlement, and I hope they bled him good.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers
Kip Williams
> Kip Williams<k...@rochester.rr.com> appears to have caused the following
> letters to be typed in news:ok01p.10008$gx6....@newsfe22.iad:
>
>> hear it -almost- quoting the Tchaikovsky violin concerto and then
>> suddenly veering off in another direction. Over and over. Nobody is
>> fooled by the deception unless they don't know the original at all.
>
> That's my #1 pet peeve among thefts of this sort. Although I also think
> that Marvin Hamlisch should be forced to give his Oscar for "The Sting" to
> the heirs and assigns of Scott Joplin.
At least he thanked Joplin in his speech. Compared to some, that's generous.
> I was, by the way, delighted when Michael Jackson was sued by the Cleveland
> Orchestra after he stole a portion of their recording (the one with Szell,
> I think) of the Beethoven 9th and used it in "Will You Be There." There
> was an out-of-court settlement, and I hope they bled him good.
They got his nose.
Kip W
Allen
> Matthew B. Tepper wrote:
>> Kip Williams<k...@rochester.rr.com> appears to have caused the following
>> letters to be typed in news:ok01p.10008$gx6....@newsfe22.iad:
>>
>>> Oh, yes. THE RIGHT STUFF is a lovely movie, but it drives me crazy to
>>> hear it -almost- quoting the Tchaikovsky violin concerto and then
>>> suddenly veering off in another direction. Over and over. Nobody is
>>> fooled by the deception unless they don't know the original at all.
>>
>> That's my #1 pet peeve among thefts of this sort. Although I also think
>> that Marvin Hamlisch should be forced to give his Oscar for "The
>> Sting" to
>> the heirs and assigns of Scott Joplin.
>
> At least he thanked Joplin in his speech. Compared to some, that's
> generous.
> Kip W
Dimitri Tiomkin thanked around half a dozen classical composers when he
won an Oscar for the music for some movie in the last half of the 1950s.
Allen
Matthew B. Tepper
to be typed in news:ycednTqpUatUJtnQ...@giganews.com:
"I would like to thank Beethoven, Brahms, Wagner, Strauss, Rimsky-
Korsakov."
number_six
> snip < Can anyone else recall any other film where this is quite so blatant?
Does it only count if it's uncredited?
Wagner is used very prominently in Excalibur, but I haven't seen it in
a long time; it may be credited.
I think Wakeman's use of Dvorak in Ken Russell's film Crimes of
Passion was credited.
Wakeman also admitted, in the liner notes, swiping a few bars from
Grieg in his Journey to the Centre of the Earth album -- that wasn't
film music, though.
Ördög
> On Jan 29, 1:03 pm, Ördög <jansfarr...@gmail.com> wrote:
>
> > snip < Can anyone else recall any other film where this is quite so blatant?
>
> Does it only count if it's uncredited?
>
> Wagner is used very prominently in Excalibur, but I haven't seen it in
> a long time; it may be credited.
Yes, it is - conducted by Norman del Mar, I think. I will need to
check.
boombox
Which piece did he quote, and where in the soundtrack?
Steve de Mena
>>>> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
>>>> was surpised, and not a little annoyed that James Horner felt it
>>>> necessary to quote, almost directly, from symphony 5 by Shostakovich.
>>>> Can anyone else recall any other film where this is quite so blatant?
> And that was the point I was trying to make. (I'm not very good at
> this yet) How many viewers of "Troy" might think, 'Wow, isn't Horner a
> wonderful composer!?! - not realising that he had pinched most of his
> stuff from a *really* wonderful composer.
Or not realizing that the music that Gabriel Yared spent a year
composing for the film was poorly received at test screenings and
Horner had to come in at the last minute and redo the entire score in
4 weeks,
Steve
Ördög
I must confess that I'm not Mr. Horner's greatest admirer, but it
seems to me that 4 weeks is enough when plagiarising another
composer's work.After all, he had plenty of material to draw upon.
Alan Dawes
<67220ff9-e2f1-44b5...@y3g2000vbh.googlegroups.com>,
Ördög <jansf...@gmail.com> wrote:
> Yes indeed. Handel "borrowed" now and then - but did he ever repay his
> debts? Of course, he wasn't the only one and it was considered
> acceptable at that time. But at that time, copyright didn't exist.
In England it did. Queen Anne wanted to encourage the publication of new
works by giving them protection from others copying their work for an
initial period of 14 years which could be extended to a total of 28 years.
If my memory is correct then this Act (sometimes called Queen Annes's Law)
was passed in 1710 and was thus already on the statute books by the time
Handel arrived here (it may have been part of the reasoning for Haydn
visiting London and publishing new works here later in the century).
Of course on the continent, where composers were in servitude to their
masters, copyright laws, which could have given more financial
independence to these sevants, would have been frowned upon by "the powers
that be".
Alan
--
alan....@argonet.co.uk
alan....@riscos.org
Using an Acorn RiscPC
William Sommerwerck
>> Bennie was guilty of it, quoting Bartok in "Journey to the
>> Center of the Earth".
> Which piece did he quote, and where in the soundtrack?
I believe he swiped part of one of Bartok's violin concertos. I'd have to
watch the film, which I'm not in the mood for, right now.
I forgot that the "riding theme" in "Marnie" was stolen from a living
British composer. KING FM plays the piece every once in a while, but I'm
never made a note of it.
William Sommerwerck
> a year composing for the film was poorly received at test
> screenings and Horner had to come in at the last minute
If composers didn't so "over-score" films, four weeks would seem a
reasonable amount of time.
Barbara Huber
Haha ... try Star Wars and "The Planets", op. 32. I, Mars, by Gustav
Holst.
Film composers do this ALL the time.
Ördög
> In article
> <67220ff9-e2f1-44b5-9df4-bb492e09e...@y3g2000vbh.googlegroups.com>,
> Ördög <jansfarr...@gmail.com> wrote:
>
> > Yes indeed. Handel "borrowed" now and then - but did he ever repay his
> > debts? Of course, he wasn't the only one and it was considered
> > acceptable at that time. But at that time, copyright didn't exist.
>
> In England it did. Queen Anne wanted to encourage the publication of new
> works by giving them protection from others copying their work for an
> initial period of 14 years which could be extended to a total of 28 years.
> If my memory is correct then this Act (sometimes called Queen Annes's Law)
> was passed in 1710 and was thus already on the statute books by the time
> Handel arrived here (it may have been part of the reasoning for Haydn
> visiting London and publishing new works here later in the century).
>
> Of course on the continent, where composers were in servitude to their
> masters, copyright laws, which could have given more financial
> independence to these sevants, would have been frowned upon by "the powers
> that be".
>
> Alan
Thank you Alan, I've actually learned something today! I spent some
time in various parts of England and Ireland during my self-imposed
exile from Hungary, and I even learned some English history. I am
aware of Queen Anne's Act of Longitude, but completely unaware that
she was responsible for copyright. Good for her!
Kip Williams
I seem to recall hearing "Marche Slav" in some quiet moments of the main
title theme.
My favorite movie, THE WIZARD OF OZ, is rather straightforward in its
swipes. There's a Mendelssohn scherzo, there's "The Happy Farmer,"
there's "Home, Sweet Home," and bits that sound like a direct lift from
the musical clock in Hary Janos, and no doubt others that I'm forgetting.
Kip W
Ördög
Oh God - I can't remember any Star Wars music! On the other hand, I
thought the films were rather silly.
Matthew Silverstein
> ....in film music, that is.
>
> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
> was surpised, and not a little annoyed that James Horner felt it
> necessary to quote, almost directly, from symphony 5 by Shostakovich.
> Can anyone else recall any other film where this is quite so blatant?
One of the main themes of James Horner's score for the (mediocre) 80's
fantasy film *Willow* sounds uncannily like the main theme of the opening
movement of Schumann's Rhenish symphony.
Matty
Gerard
Without mentioning it?
Ördög
Usually. Sometimes it can be confusing, because the credits might say
something like, "original music by....", and it can be difficult to
know who composed what - unless it's obviously taken from a well known
classical piece and the recording is credited.
Gerard
> On Jan 30, 4:03 pm, "Gerard" <ghendr_nospam_ik...@hotmail.com> wrote:
> > Barbara Huber wrote:
> > > > ....in film music, that is.
> >
> > > > Having seen Wolfgang Petersen's "Troy" (original and director's
> > > > cut) I was surpised, and not a little annoyed that James Horner
> > > > felt it necessary to quote, almost directly, from symphony 5 by
> > > > Shostakovich. Can anyone else recall any other film where this
> > > > is quite so blatant?
> >
> > > Haha ... try Star Wars and "The Planets", op. 32. I, Mars, by
> > > Gustav Holst.
> > > Film composers do this ALL the time.
> >
> > Without mentioning it?
>
> Usually. Sometimes it can be confusing, because the credits might say
> something like, "original music by....", and it can be difficult to
> know who composed what - unless it's obviously taken from a well known
> classical piece and the recording is credited.
It might be difficult to read or to know, but that way it's not called
plagiarism, AFAIK.
My question was more about "do this ALL the time". I don't think so. But that's
because it's my impression.
Kip Williams
> One of the main themes of James Horner's score for the (mediocre) 80's
> fantasy film *Willow* sounds uncannily like the main theme of the opening
> movement of Schumann's Rhenish symphony.
I tried to watch that movie. It had one scene I liked, near the
beginning. They (I forget who) ask the mighty wizard what to do next.
The wizard conjures up a bird. "Follow the bird!" he says impressively.
"It's flying back toward town," someone points out.
"Forget the bird," the wizard says. "Follow the river."
I don't remember anything after that that lived up to this promising
beginning.
Kip W
rje
While not in the realm of plagiarism, in the 1970's when RCA re-
released Horowitz's 1950s mono recording of Pictures at an Exhibition,
someone in their marketing department had a large sticker placed on
the cover reading: "As made famous by Emerson, Lake & Palmer."
Ördög
wrote:
And the waltz by Michael Kamen, featured in Terry Gilliam's
"Adventures of Baron Münchausen" would fit very neatly into "Der
Rosenkavalier".
David O.
<jansf...@gmail.com> wrote:
>I must confess that I'm not Mr. Horner's greatest admirer [snip]
I find a lot of Horner's work lugubrious & affected. He seems to score
every crisis in the plot with that shlocky signature of his: the
dreamy "Celtic Voices" style, which he also used in "Titanic" & "The
Perfect Storm." I don't like the music Howard Shore wrote for the
"Lord of the Rings" pictures, either, for much the same reasons.
Ördög
> On Sun, 30 Jan 2011 02:52:40 -0800 (PST), Ördög
>
> >I must confess that I'm not Mr. Horner's greatest admirer [snip]
>
> I find a lot of Horner's work lugubrious & affected. He seems to score
> every crisis in the plot with that shlocky signature of his: the
> dreamy "Celtic Voices" style, which he also used in "Titanic" & "The
> Perfect Storm." I don't like the music Howard Shore wrote for the
> "Lord of the Rings" pictures, either, for much the same reasons.
I have yet to hear a Horner score that I enjoyed, and I agree with you
completely.
Lionel Tacchini
> On Jan 29, 10:15ï¿œpm, Kip Williams <k...@rochester.rr.com> wrote:
>> MiNe 109 wrote:
>>> In article
>>> ￜ rd g<jansfarr...@gmail.com> ￜwrote:
>>>> ....in film music, that is.
>>
>>>> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
>>>> was surpised, and not a little annoyed that James Horner felt it
>>>> necessary to quote, almost directly, from symphony 5 by Shostakovich.
>>>> Can anyone else recall any other film where this is quite so blatant?
>>
>> hear it -almost- quoting the Tchaikovsky violin concerto and then
>> suddenly veering off in another direction. Over and over. Nobody is
>> fooled by the deception unless they don't know the original at all.
>>
>
> And that was the point I was trying to make. (I'm not very good at
> this yet) How many viewers of "Troy" might think, 'Wow, isn't Horner a
> wonderful composer!?! - not realising that he had pinched most of his
> stuff from a *really* wonderful composer.
This is a funny discussion. I did see Troy and cannot remember there
was music in it. I suppose it did its job of contributing to the film
as a whole and can be forgotten outside of it.
Lionel Tacchini
Ördög
> rd g wrote :
>
>
>
>
>
> > On Jan 29, 10:15 pm, Kip Williams <k...@rochester.rr.com> wrote:
> >> MiNe 109 wrote:
> >>> In article
> >>> <81297f0b-6ce2-4f1f-87f9-18f825e6d...@z31g2000vbs.googlegroups.com>,
> >>>> ....in film music, that is.
>
> >>>> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
> >>>> was surpised, and not a little annoyed that James Horner felt it
> >>>> necessary to quote, almost directly, from symphony 5 by Shostakovich.
> >>>> Can anyone else recall any other film where this is quite so blatant?
> >>> Other than by John Williams?
>
> >> Oh, yes. THE RIGHT STUFF is a lovely movie, but it drives me crazy to
> >> hear it -almost- quoting the Tchaikovsky violin concerto and then
> >> suddenly veering off in another direction. Over and over. Nobody is
> >> fooled by the deception unless they don't know the original at all.
>
> >> Kip W
>
> > And that was the point I was trying to make. (I'm not very good at
> > this yet) How many viewers of "Troy" might think, 'Wow, isn't Horner a
> > wonderful composer!?! - not realising that he had pinched most of his
> > stuff from a *really* wonderful composer.
>
> This is a funny discussion. I did see Troy and cannot remember there
> was music in it. I suppose it did its job of contributing to the film
> as a whole and can be forgotten outside of it.
>
>
> - Show quoted text -
I think the music, such as it is, is best forgottten! OTOH, the
director's cut includes some music which was omitted from the original
version and those snippets are quite good in places.
mark
> ....in film music, that is.
>
> Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
> was surpised, and not a little annoyed that James Horner felt it
> necessary to quote, almost directly, from symphony 5 by Shostakovich.
> Can anyone else recall any other film where this is quite so blatant?
1. The main theme from "The Right Stuff" is a slightly adjusted rip
off of the first movement of the Tchaikovsky Violin Concerto.
2. The movie "Time Bandits" has music based very closely on the first
movement of Mahler's Sixth
3. There was some pirate movie in the late 70s or 80s (The Island?)
that quoted extensively from Ein Heldenleben.
William Sommerwerck
I think it's the Titan (First).
Matthew B. Tepper
letters to be typed in news:Bof1p.23491$TZ4....@newsfe20.iad:
> My favorite movie, THE WIZARD OF OZ, is rather straightforward in its
> swipes. There's a Mendelssohn scherzo, there's "The Happy Farmer," there's
> "Home, Sweet Home," and bits that sound like a direct lift from the musical
> clock in Hary Janos, and no doubt others that I'm forgetting.
Not "The Viennese Musical Clock," but "The Battle and Defeat of Napoleon,"
but yes, it's always struck me that way too.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers
mark
I'm pretty sure it's the Sixth. That insistent rhythmic figure in the
basses and the woodwind writing are straight out of the Sixth.
Mr. Mike
<ChasJ...@aol.com> wrote:
>The "Can You Read My Mind" sequence from
>"Superman" is probably the closest that Williams has come to an
>outright lift. Give a listen to this Williams theme, then to the main
>theme of Richard Strauss' "Death and Transfiguration."
And then read this WWW page:
http://mmmusing.blogspot.com/2007/01/can-you-read-my-mind-and-name-that-tune.html
Mr. Mike
<k...@rochester.rr.com> wrote:
>THE RIGHT STUFF is a lovely movie, but it drives me crazy to
>hear it -almost- quoting the Tchaikovsky violin concerto and then
>suddenly veering off in another direction. Over and over. Nobody is
>fooled by the deception unless they don't know the original at all.
Yet this film won the Oscar for best score that year!
Mr. Mike
<jansf...@gmail.com> wrote:
>Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
>was surpised, and not a little annoyed that James Horner felt it
>necessary to quote, almost directly, from symphony 5 by Shostakovich.
>Can anyone else recall any other film where this is quite so blatant?
Exactly where in this film does this take place?
Mr. Mike
Fielding and certain other composers:
El Klauso
outright lift. Give a listen to this Williams theme, then to the main
theme of Richard Strauss' "Death and Transfiguration."
And then read this WWW page:
And then compare the "Raiders of the Lost Ark" March with the old pop
song by the Ray Conniff singers, "That's What Happiness Is..."
El Klauso
Wow...Sounds like 'royalty sharing time' to me.
Russ (not Martha)
> was surpised, and not a little annoyed that James Horner felt it
> necessary to quote, almost directly, from symphony 5 by Shostakovich.
> Can anyone else recall any other film where this is quite so blatant?
'Red Heat', in which the selfsame Horner filches the Philosophers'
chorus from Prokofiev's Cantata for the 20th Anniversary of the
Revolution.
Russ (not Martha)
Matthew B. Tepper
typed in news:j45ck6pv5a08mvn49...@4ax.com:
Shows what a good ghost writer Tchaikovsky was!
Mr. Mike
<ChasJ...@aol.com> wrote:
>Wow...Sounds like 'royalty sharing time' to me.
I have brought up these comparisons on some film music forums and no
one has ever offered an explanation as to why Fielding did this, other
than he was doing an "homage" to two of his music heroes, Bartok and
Lutoslawski.
I wonder if it had anything to do with the fact that the music of
either or both of these composers was in a "public domain" state at
the time?
Ördög
> On Sat, 29 Jan 2011 13:03:24 -0800 (PST), Ördög
>
> >Having seen Wolfgang Petersen's "Troy" (original and director's cut) I
> >was surpised, and not a little annoyed that James Horner felt it
> >necessary to quote, almost directly, from symphony 5 by Shostakovich.
> >Can anyone else recall any other film where this is quite so blatant?
>
> Exactly where in this film does this take place?
Without watching the whole film again, I can't specify exactly where.
Mainly in the battle scenes featuring Brad Pitt and/or Eric Bana. The
'director's cut' has snipped some of the Horner/Shostakovitch music.
number_six
That's pretty funny. At that time, I certainly would have been more
familiar with ELP than with Horowitz -- but, had I seen that sticker,
even then I knew enough classical music that I would have been
dismayed.