Lost Ancestors

Film composers crib classical works all the time. Forex, I sat up with a jolt, decades ago, at the premiere of The Empire Strikes Back when I realized I was hearing a parlayed version of the Tchaikovsky Violin Concerto behind the action in the Cloud City of Bespin. But last night, just letting the classical station run in an access of blessed relief at the end of the annual onslaught of Christmas dreck — who wants to hear the same string trio version of “Jingle Bells” six times a day? — something hit me between the eyes.

Just the first few bars. Go on, listen. Same key, even.

I’ve been a Trekkie all my life. And not only is Mahler on my Top Ten composer list, that one is my favorite of his symphonies; it’s even “our song” of poignant memory, the one whose A-theme gave my late and ex husband an opening to speak to me for the first time (“Are you whistling Mahler’s First, or the Songs of a Wayfarer?” Trick question; the answer is “yes,” because he recycled the melody).

How did I miss this?

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