Music
The music includes many pieces by Wolfgang Amadeus Mozart. Notable examples include the aria "Non Più Andrai" from the opera The Marriage of Figaro, the andante movement from Eine kleine Nachtmusik, the first movement of Mozart's Piano Sonata No.11, K331 (best known for the third movement, the Rondo alla turca), the Posthorn Serenade, K320 and a Rondo in D, K382.
Hermann Prey's lusty singing of "Non Più Andrai" magnificently highlights the absurd antics of the old biplane as Myerson is shooting at it. The song tells how Cherubino ("little baby"), going into the army, will no longer be a dainty favorite, just as 5-foot-7 Myerson is going to lose his power at the CIA. Also, the song describes bullets flying and even bombs exploding.
There is also the aria "Largo al Factotum" from the opera The Barber of Seville by Gioachino Rossini. Matthau sings this as he passes a border checkpoint. The words to the aria explain how everyone is looking for the barber, and he moves fast like lightning.
Kendig has the aria "Un Bel Dì Vedremo" ("One Beautiful Day") from Madame Butterfly by Giacomo Puccini playing loudly on the stereo as the FBI and CIA shoot up Myerson's wife's house. The operatic contrapunto adds a surreal air of ironic justice to the events as Madame Butterfly sings how she will hide from her husband.
Matthau, who had a great personal fondness for opera, is said to have selected the soundtrack himself. The director said however that conductor Ian Frasier found many of the Mozart pieces that fit the movie.
The credits also list "Once a Night" written by Jackie English and Beverly Bremers. This is the blaring song playing at the bar "The Other End" where Matthau goes to arrange his flight from Georgia.
Read more about this topic: Hopscotch (film)
Famous quotes containing the word music:
“Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.”
—Frank Zappa (1940–1993)
“The manner in which Americans “consume” music has a lot to do with leaving it on their coffee tables, or using it as wallpaper for their lifestyles, like the score of a movie—it’s consumed that way without any regard for how and why it’s made.”
—Frank Zappa (1940–1994)
“As if, as if, as if the disparate halves
Of things were waiting in a betrothal known
To none, awaiting espousal to the sound
Of right joining, a music of ideas, the burning
And breeding and bearing birth of harmony,
The final relation, the marriage of the rest.”
—Wallace Stevens (1879–1955)