Classical music at the movies

Classical music has long been the secret sauce of filmmaking, adding the extra level of punch, drama or humour that can take an indifferent scene to the next level. It has also been a fountain of inspiration for those composers writing original music for the movies (read more about John William’s use of Holst's 'The Planets’ here, for example).

Whether is be a serious symphony accompanying a battle scene or a light waltz in a romantic comedy, classical music provides context and amplifies the drama. Here then are some of the best cinema moments where classical music has made us laugh, cry or just say, "Hang on, I've heard that before!"

Richard Wagner—Ride of the Valkyries

Wagner’s Ride of the Valkyries from his opera Die Walküre has been used in a number of movies, but its probably best known for its appearance in 'Apocalypse Now' (1979). It accompanies a helicopter attack scene, the music both reflecting the chaos and violence and also acting as its counterpoint—it feels too bombastic for the horrific scenes that unfold as a result of the violence.

A tale of two Strausses—Stanley Kubrick's 2001

Though he originally planned an original soundtrack for his iconic movie '2001: A Space Odyssey' (1968), Stanley Kubrick eventually settled on works from the classical canon, including Richard Strauss's Also Sprach Zarathustra for the dramatic opening of the movie, Johann Strauss II’s The Blue Danube for depictions of spacecraft gracefully gliding through space and the music of avant garde composer György Ligeti in multiple scenes.

Johann Strasses II's 'The Blue Danube' in Stanley Kubrick's '2001'

The Amadeus Connection

A bit of a cheat, since the film 'Amadeus' (1984) is about the life, music and rivalries of one of the most famous composers to have lived, Wolfgang Amadeus Mozart, so one would expect his music to feature pretty strongly. And boy does it—hardly a scene goes by without some iconic work by Mozart forming the musical backcloth. A few moments stand out. There is dramatic opening, where a deranged Salieri, Mozart’s rival, has tried to kill himself. He is rushed through the streets on a stretcher, the urgency suggested by first movement from Mozart’s dramatic Symphony No. 25 in G Minor. Later we see the first encounter between Salieri and Mozart, accompanied by the heavenly music from the third movement of Mozart’s Gran Partita. And then, as the atmosphere turns dark towards the end of the film, we hear multiple movements from Mozart’s Requiem (Mass for the Dead), culminating with the Lacrimosa, performed as the body of the composer is deposited in a mass, and unmarked, grave.

Ludwig van Beethoven – Symphony No. 9

Beethoven’s Symphony No. 9 has been used in a number of movies. In ‘Die Hard’ (1988), starring Bruce Willis, the joyous strains of Ode to Joy from the last movement accompany the moment where the bad guys manage to open the safe at Nakatomi Plaza, suggesting that crime does, indeed, pay. Parts of the symphony are also used in Stanley Kubrick’s ‘A Clockwork Orange’ to suggest, sometimes ironically, the main character's violent tendencies.

Beethoven’s ‘Ode to Joy’ in ‘Die Hard’ (1988)

Claude Debussy—Clair de Lune

Debussy’s Clair de Lune has graced many a film, providing a sense of calm, romance or introspection. In 'Twilight' (2008) is it used to encapsulate the subtleties of love, whilst in the 'The Right Stuff' (1983) it provides serene contrast to the main action. In an extended scene in 'Ocean’s Eleven' (2001), on the other hand, it is used to suggest the bittersweet emotions of the heist crew as they reflect upon their success by the Bellagio fountains in Las Vegas:

Gustav Holst—The Planets

Gustav Holst’s Planets Suite has, as mentioned, been a massive influence on film music composers over the years. It has also, however, been used directly in many movies. Mars is perhaps the most popular, appearing in ‘Company’ (2002), ‘Blood in the Face’ (1991), ‘Quatermass II' (1955) and many others. In addition to ‘Mars’ (and Debussy’s Clair de Lune, see above), the 'Right Stuff' (1983) uses Neptune and Jupiter from the Holst’s suite, whilst the 2003 movie ‘New Guy’ uses parts of Venus, Neptune and Saturn.

Holst’s ‘Mars’ in Quatermass II (1955)

Tomaso Albinoni—Adagio

The noble qualities of Albinoni’s Adagio have made it popular in the concert hall, but also a popular piece for use in TV and film soundtracks. It first appeared in the cinema in 1961 as the main theme in Alain Resnais's 'Last Year at Marienbad' (1961). It is particularly effective used in scenes that are emotionally charged, for example in Kenneth Lonergan’s 2016 drama 'Manchester by Sea' or in Peter Weir’s 1981 war movie 'Gallipoli':

Samuel Barber–Adagio for Strings

Barber's 'Adagio for Strings' is perhaps the go-to piece for films depicting loss, grief, and tragedy. It was used with devastating effect in 'Platoon' (1986), where its haunting melody underscores the emotional and physical toll of the Vietnam War. The piece has also appeared in films like 'The Elephant Man' (1980), enhancing the tragic elements of the story.

Barber’s Adagio in ‘Platoon’ (1988)