Заяц Бугс Базз стал неожиданным послом классической музыки, используя мелодии Мендельсона

Bugs Bunny may be classical music’s most unlikely ambassador. Besides definitively settling the debate over the musical ability of anthropomorphic hares, Bugs Bunny is one of animation’s most memorable cultural icons. What’s more, if you grew up watching classics such as “Hare Ribbin'” (1944) or “The Big Snooze” (1946), he likely introduced you to today’s work. Known popularly as the “Spring Song,” it is Op. 62, No. 6—the 30th piece in the complete collection of Mendelssohn’s 48 “Songs Without Words.” Here the work is performed by Vladimir Horowitz. ( Listen ) If you grew up watching Looney Tunes, this tipsy, sprightly tune may be so familiar that you hum right along. Yet many fans don’t know that the melody comes from the piano music of Felix Mendelssohn, one of the great composers of the early Romantic era. Think back to the cartoon’s humorous antics, set against this deceptively simple melody: The music adapts Mendelssohn’s graceful lyricism into the perfect soundtrack for comic mischief. The music of these animated shorts, many of which were adapted and scored by composer Carl Stalling, contains frequent references to some of the greatest classical works of all time. One of the all-time impressive performances of Liszt’s Hungarian Rhapsody No. 2 is by none other than everyone’s favorite gray hare in the animated short “ Rhapsody Rabbit.” Of course, the combination of animation and classical music predates Looney Tunes. One prominent early example is Disney’s “Fantasia.” Crafted around a handpicked selection of works, from Bach’s “Toccata and Fugue in D minor” to Mussorgsky’s “Night on Bald Mountain,” “Fantasia” (1940) displayed the expressive support music could have for animated visuals. The result established animation as a powerful medium for reimagining classical music for years to come. Fast forward a few decades and the influence of “Fantasia” is undeniable. From the “Rabbit of Seville” paying homage to Rossini’s “Barber of Seville” to “What’s Opera, Doc” parodying the tropes of Richard Wagner, Warner Bros. took the integration of classical music in their shorts in a new direction. Through satire and comedy, Looney Tunes pushed the “Mickey Mousing” technique—whereby music in sync with on-screen actions—to high levels of technical precision. The unique blend of sound and animation has changed the way generations of viewers engage with classical music, for better or for worse. While Felix Mendelssohn may never have expected his music to reach audiences so unconventionally, the reasons behind his music’s popularity are no secret. The care and detail Mendelssohn put into his “Spring Song” played as much of a role in its popularity as its humorous presentation. ‘Spring Song’ by Mendelssohn Listen to the character of the eighth-note accompaniment. These energetic decorations appear on the offbeats, giving the lyricism of the melody space to shine while creating the sensation of musical flow. The piece comes from a collection of works called “Songs Without Words,” although the title didn’t stop speculation about the hidden lyrics behind the piece. When his friend Marc-André Souchay pressed him one too many times about their meaning, Mendelssohn replied in a letter: “People often complain that music is too indefinite in its meaning—that what they are supposed to be thinking as they hear it is unclear, whereas everyone understands words. With me it is exactly the opposite, and not only with regard to an entire speech, but also with individual words. These, too, seem to me so vague, so ambiguous, so easily misunderstood in comparison to genuine music which fills the soul with a thousand things better than words.” What arts and culture topics would you like us to cover? Please email ideas or feedback to [email protected].