Grand March from Aida, VERDI
As a 10 year old I didn't particularly think of this as 'classical'. It was just a good tune that was on a 78, the only disc that came with a wind-up phonograph I bought at auction. The speed changed depending how much you wound it up.
New World Symphony, DVORAK
Introduced to me by my father who had a very eclectic taste from blues to opera as I grew up in Merseyside at the hight of Merseybeat. Play the arrangement for brass as used in the famous Hovis ad of the time.
Rite of Spring, STRAVINSKY
I used to help backstage on school dramas, doing the sound. I used this piece for dramatic effect on Arthur Miller 'Crucible' (A tragedy about witchcraft).
Extract from Days of Future Past, MOODY BLUES/LONDON FESTIVAL ORCHESTRA (Nights in White Satin)
As a teenager I was into the 'Progressive Rock' of the late 60s and some ambitious bands experimented with lush classical type orchestrations.
Nimrod from Enigma Variations, ELGAR
Very moving for its association with memories of WW1, played at the Cenotaph each Remembrance Sunday. The Bayly family always went to our local war memorial where it was played. Also often used in British funerals. My family has always had a huge respect for the forces and my father met my (German) when he was part of the WW2 peace keeping forces. We visited the Menin gate in Ypres, Belgium recently to introduce Matthew.
Association with a balloon flight.
Aquarium from Carnival of the Animals, SAINT SAENS
Film directing became my full time career and this piece was used in a sea horse sequence to suggest their flirting dances. The males have the babies. (the female deposits 1000 eggs in a his brooding pouch for up to 45 days when some develop into tiny but fully developed seahorses.)