Hitting the Right Key With Classical Music in Ads

Given the right creative, the use of classical music (for you music nerds out there yes, I am lumping Baroque, classical, romantic and 20th century into the ‘classical’ category for simplicity) in advertising can be like a storytelling shorthand, a way of putting your 30-second (read, 6-second) story into immediate context for the viewer. Feeling a quirky (yet oddly dramatic) dance? ‘Habanero’. Want to capture an epic moment of pure joy? Handel’s ‘Zadok the Priest’. Christmas? Hit me with some ‘Nutcracker’. Too ‘old and stuffy’ for your holidays? We can hit you with a trap remix. This is the more straightforward approach. Your audience doesn’t need to know the pieces to be moved by them in some way. And decades of constant recycling of the most famous classical pieces in advertising and film has ensured that, while most listeners might not know the titles or even composers of these iconic pieces, they will most certainly recognise the tune, and often the association that music elicits.

So how can you use classical music in a more innovative way? When used à la Tarantino, for example, this is one way to amplify that music’s out of place-ness and contrast the events on screen with the mood and historical weight of the music. Or to take an existing emotion and amplify it to an extreme. This one still gives me chills. You don’t need to have seen Academy Award-winning ‘Amadeus’ or have any other classical context to feel the incredible sense of loss in Mozart’s ‘Lacrimosa Requiem’ in this classic Nike spot.

Certain pieces of classical music, when viewed through a modern lens, feel forever bound to an idea, an emotion, or sometimes even an entire genre of filmmaking. Thanks to Stanley Kubrick, how could you connote the awesome expansiveness of the universe more quickly than the opening figure of Richard Strauss’ ‘Also Sprach Zarathustra’, for example? 

And in advertising’s time-honoured tradition of building on the language of film, this is where we can stretch, innovate and amplify to great effect. Taking Strauss’ epic piece one step further, could you mine that feeling of awe and discovery in the context of, um…baby poo? 

So, grab a wig and quill, a classical hits playlist, and get inspired.

We think of classical music as composed between 1750 and 1830. So, it’s no surprise, given how long this music has been around, how much of it we still hear around us. Everywhere!  On Saturday, throughout my day, I heard 27 snippets of classical music. Music from this period is, still, very much part of popular music. You hear classical melodies, riffs, hooks and chord sequences all the time. Everywhere.

Why? Three reasons:

However, there are also pitfalls!

Clichés and Stereotypes: Using overly familiar classical pieces can lead to clichéd associations and undermine the advertisement's originality. It can seem a bit lazy… cheesy, even.

Lack of Authenticity: Without genuine relevance or connection to the brand message, using classical music can seem contrived or insincere. Authenticity is key to establishing a meaningful emotional connection with audiences, and the selected music should resonate authentically with the advertisement's narrative and the brand's identity.

Misalignment with Target Audience: Misjudging your target audience can result in classical music choices failing to resonate or connect with consumers. Understanding the characteristics, cultural backgrounds, and musical tastes of your audience is essential to selecting classical pieces that effectively engage and appeal.

Misinterpretation of Context: Misinterpreting the historical or cultural context of a classical composition can lead to unintended meanings or associations in the advertisement. Without a thorough understanding of the music's background and significance, advertisers risk conveying messages that are incongruent with the composer's intentions or the piece's cultural heritage.

On the plus side, classical music does offer endless opportunities for creativity, inviting composers and sync experts to push the boundaries of creativity, and be really brave. From reimagining beloved classics to composing original compositions inspired by the masters, the possibilities are as vast as the imagination. This is where the use of classical music can work really well.  

As a classically trained pianist and, more reluctantly, a violinist for 10 cacophonous years of my childhood, I’m very aware of how stuffy and overly reserved stereotypical classical music can feel. Like any ingredient, it’s often about what it’s matched with. Paired predictably with equally conservative material, it tends to fall flat, or even cringe-worthily. Even when paired less predictably, it often needs to fully commit to a strong mood to contrast or complement the rest of the picture.

There is, of course, the deliberately cheesy and stuffy, often used to satirise anything antiquated, sophisticated and dignified. Pieces like Luigi Boccherini’s ‘Minuetto’ have become stereotypical in that regard, used in pop culture for decades from films like ‘The Ladykillers’ to being mentioned in ‘Spinal Tap’. But when cheese isn’t called for in a musical recipe, it's important to avoid slipping it in by accident.

Classical music also ends up a very popular choice in the car world. It’s often an easy fix, conveying majesty, luxury and aspirational wealth. It certainly works in some cases, but there are times when it feels reflexively pasted on top in a hurry. Infiniti QX60’s use ‘Also Sprach Zarathustra’ starts with a poorly played performance from a kids orchestra before moving into the usual masterfully played version we all know. The twist feels refreshing as it clearly demonstrates the use of a well-known piece as intentional, as well as not taking itself too seriously. 

A couple of years ago, I composed a 20-second mini piano sonata for a BMW radio ad of a similar sort. I liked the fact that even though BMW opted for classically-inspired music, they wanted something fresh and bespoke to reflect the arc of the script, starting with a rather terribly played piece that finished with a flourish. Other than the fact it meant I got opted for over a classical composer (take that, Mozart!), I thought this premise was really effective at keeping the listener on their toes with what might otherwise have been an unremarkable car ad. 

Neo and contemporary classical music like this is obviously classically inspired, but can balance the cheesiness while maintaining things like desirable textures, aesthetics and masterful technical execution. Brilliant examples include P&G’s use of Ludovico Einaudi’s rousing ‘Divenire’ for its London 2012 Olympic Games campaign, as well as Joe Hisaishi’s nostalgic bespoke composition for Chobani’s Ghibli-esque, solar punk-inspired ‘Dear Alice’. 

Of course, another good option is re-recordings and re-arrangements. This can be moving away from or converting to the genre of classical music. While ‘Bridgerton’’s famous use of classical covers may spring to mind, such alternatives are already pretty well-established. For example, back in 1987, the Nissan Skyline R31 commercial used a rock (although in hindsight, very cheesy) cover of ‘Für Elise’. Songs like these cash in on the familiarity of a classical piece, but give them a much sought-after contemporary twist. They also offer contemporary composers a chance to play a part in keeping the genre fresh and even creating new classics.

Naturally, I advocate for the use of fresh neoclassical compositions, re-arrangements and re-records. Equally, I also think it important that all creators in the advertising world really try to take the courage and time to dive deeper into classical music. Like with any genre, there are always many hidden gems to be discovered. Perhaps a good starting place for avoiding the cheese and stuffiness is to reconsider our cheesy and stuffy associations, how they’ve come about, and keep looking for unexpected ways to dust off old music and turn it on its head.

Classical music is a huge genre and the term can describe very different music from all around the world - think modern classical, Indian classical, Chinese opera, Baroque, French romantic, etc. It has been used across adverts for years, maybe more so in the last 15 with the ubiquity of neoclassical music. 

So here, we're going to narrow down the question a bit and take a look at a few ways in which music in the western classical canon has been modernised for advertising over the last few years.

Seventy years after the death of the composer, a piece of music becomes publishing free. This doesn’t mean you can just use any recording of it, as the performance will be owned by the recording company. However, it does mean you can make your own performance and not have to pay publishing royalties (as there isn’t one!). As such, the tone and energy of a piece can be changed through the instrumentation and production, fitting the original piece to the tone of the advert, while keeping it noticeably classical, and depending on what piece of music you use, very recognisable.

We were recently commissioned as composers through Thirty Two Music to recompose Bach’s ‘Prelude in C’ for EE. Taking inspiration from Isao Tomita, a pioneer of electronic music and master of synthesiser reworks of classical music, who released albums in the ‘70s of Stravinsky, Mussorgsky and Holst, using modular synthesisers to create thoroughly futuristic, yet recognisable music. (See ‘Snowflakes are Dancing’.)

Another stunning example of this approach is Max Richter’s remixing of his wildly popular re-interpretation of Vivaldi’s ‘The Four Seasons’, which was commissioned by Dior for its 2023 closing of Paris fashion week. Again, a highly memorable theme, but re-worked with contemporary zeal. 

We also remember this Samsung advert by Sebastian Escofet well. It really stuck in our heads - something about the serenity and recognisability of Debussy along with the subtle synth work representing something both classic and futuristic at the same time.

So, three examples, all of which bring together products with classical music reconfigured for the current period. They all represent lineage and progression with stately retro futurism, and plus, no publishing royalties! 

An important prerequisite of the classical music world is deep knowledge of the repertoire. It takes someone who understands classical music to be able to successfully use it in a modern arena. From Bach to Stravinsky, there’s something deeply human embedded in the harmony and organic qualities of orchestral and chamber music. When you can tap into that human aspect, it can elevate almost any message you’re trying to convey.

For my work on the Coca-Cola ‘Scream’ spot, having the ability to point out Rossini's ‘La Gazza Ladra’ as a musical representation of its piece required both knowledge of the repertoire and an understanding of the mechanics of opera overtures. They’re energetic, always changing, and contain a lot of musical information. So, editing around it can be tricky, but the end result is worth it.

In other spots with an orchestral element, being able to take from traditional classical orchestration and give it a new voice also requires an understanding of how instruments have been used in the past, paired together, or featured. That can be the key to unlocking the heart of a new piece of music.

In my score for the Super Bowl teaser for ‘Agent State Farm’, the whole of it is orchestral with somewhat traditional orchestration. And while we all wanted it to be a big, modern action score, I tried to make sure I was grounded in traditional orchestration techniques. By using instruments like harp, celeste, trumpets, and tubular bells in a traditional way (instruments that are used less and less in contemporary orchestral scores), I was able to capture something that has a foot in both the old school and the new.

All in all, classical music holds so many of the structures on which modern popular music is based. Yet, tapping into the source material directly can provide a new and unexpected emotional result.

There are hundreds of ways to implement classical music into advertising. I want to highlight the re-recording of songs in the public domain. Most well-known classical pieces are in the public domain, and don't have a publisher attached to the composition. This means there's no need to seek permission to create another version of a track. More importantly, it created an opportunity to make our own unique version of a song we’ve been listening to for our whole lives. 

This can be done emotionally, as well as sarcastically. It's amazing how classical music can bring out the irony in an ad. When we rearrange these songs, it gives us an opportunity to align the music with the edit and hit those sync points to create the most punch. We recently did a version of ‘Dance Of The Hours' by Amilcare Ponchielli. We integrated electronic sounds, whistles, claps, Latin vocals, and a new beat to the full orchestral ensemble. This created a quirky and fun sound to an already exciting section of the Russian ballet. 

Working on these jobs is a great way to work with some of the best classical musicians in the world. However, the challenge is to find the right opportunity within a film. The piece, most importantly, has to fit the brief. All of the arrangement, production and performance techniques are there to support that narrative.

I am currently walking through my local garden centre, when the dulcet tones of Leo Delibes’ ‘The Flower Duet’ slip into my ear canal with familiarity and ease. Then, all of a sudden, I have the overwhelming urge to have either a chicken/fish microwave meal on a tray, sitting very upright on a chair that is at most, 20cm behind someone else… uncomfortably for 8-10 hours. I am of course talking about British Airways. Although it may have moved away from this composition from the opera 'Lakmé' (and its countless re-arrangements), the power this piece had for brand recognition resides in and spans generations. 

Classical music has a polarising effect of being assumed to be only accessible to the highly educated or elitist by nature. However, it has the versatility to span genres and generations. I believe this has been helped by modern composers for film and television, keeping all the tropes of classical music alive with neoclassical compositions that are ubiquitous in modern media. The new age Mozarts… the ‘Baroque-n-rollers’ of our time, if you will. 

In the world of advertising, where catching and holding the audience's attention is a perpetual challenge, classical music has emerged as a powerful and timeless tool. The integration of classical compositions into commercials and promotional content has become a strategic choice for marketers seeking to create impactful and memorable brand experiences. This phenomenon is not merely coincidental; it is rooted in the profound psychological and emotional impact that classical music can have on listeners.

Specifically, classical music possesses a quality that resonates with a diverse audience. Its intricate melodies and harmonies have the power to evoke a range of emotions, from nostalgia to excitement. Advertisers leverage this emotional depth to create a connection between the audience and the brand. For example, Apple's iPhone 5 commercial featuring modern classical ‘Una Mattina’ by Ludovico Einaudi, or its use of ‘William Tell Overture’ by Gioachino Rossini for the release of its MacBook Pro. 

Moreover, classical music has a cultural familiarity that spans generations. Recognisable compositions have permeated popular culture, creating an instant connection with the audience. Again, British Airways is my first example, but also the Hovis ‘Go On Lad' advert, featuring Dvorak's ‘New World Symphony’, not only struck an emotional chord but also capitalised on the familiarity of the music, reinforcing the brand's connection with tradition and nostalgia. (I had the pleasure of rearranging this piece myself for the Hovis’ ‘1886 Range’ starring Tom Kerridge!)

Classical music can also be employed in advertising with a twist - humour. This unconventional pairing adds a touch of unexpectedness to campaigns, engaging viewers through a blend of sophistication and amusement. A personal example is of a bespoke composition for Harry's ‘Satsuma’ campaign, which was an homage to Henry Purcell and his Baroque stylings! The drama of the grandiose music plays so well with the character’s monologue - this unexpected fusion makes the classical music an unexpected companion, with the irony and contrast between the sophistication of the music and the humour in the ad generating a unique and memorable viewing experience.

However, it's crucial to recognise that classical music may not always be the right choice for every advertising campaign. In instances where the target audience is younger and more attuned to contemporary trends, classical compositions might feel out of touch or fail to resonate. Additionally, some advertisers may inadvertently dilute the impact of classical music by overusing it or misaligning it with the brand message. The risk of becoming cliché or predictable looms when classical music is employed without a clear connection to the narrative or emotional context of the advertisement.

The use of classical music in advertising is successful when strategically employed to evoke emotions, leverage cultural familiarity, and enhance storytelling. When used thoughtfully, classical music can elevate advertising to a symphony of success, but a nuanced approach is essential to avoid discord in the harmony of brand communication.

For centuries, what we call ‘classical music’ was arguably the pinnacle of art, entertainment, and storytelling. It was a vessel for telling massive stories and expressing unbound ideas and emotions. But while it has survived as a highly important artefact, its aims can sometimes feel like an awkward, unrelatable fit in today’s society. We see this tension a lot in ads - this often highly dramatic, bygone style paired with something contemporary that, by comparison, is wildly mundane. It’s a really effective form of comedy through contrast. But I’ve found that when it can get a bit closer to the original aims of the form, a really special type of unlocking can happen with a piece of film. 

A few years ago, I oversaw the music for a wildly ambitious campaign for Miller Lite: a 90-second black and white chase film called ‘Followers’. With no dialogue and hardly any product shown, the whole thing had the look, feel, and drama of a piece of theatre. But, rather than leaning on a known piece of classical music to bring out the absurdity, we decided to play it straight and score it like a true ballet. Working with the renowned composer Phil Kay, we were able to utilise all the elements that make a piece of classical music so effective: a big ensemble, various suites, drama and resolve - the high-art nature of the form - and give the story the elevated thrills and emotion it needed, which allowed the humour to come through really organically (and earn some big acknowledgements in the process). 

Something magical happens when a brilliant composer has the tools of an orchestra at his/her disposal. It’s the reason classical music has remained while so little in our collective history has sustained over centuries of evolution. It really is the sound of striving. 

I've found classical music to have its most useful place in films where the tone is particularly ironic, tongue-in-cheek, or slightly comedic. Take for example the classic Stella Artois ad, ‘Ice Skating Priests’, directed by Jonathan Glazer, which features ‘Hungarian Rhapsody No. 2’ by Listz (you'd know it if you heard it). In an alternate universe, it could have been scored anachronistically - an obscure ‘70s disco track might've provided an amusing juxtaposition for a cheap laugh - but the comedy would've become very heavy handed and laboured, and the cerebral tone of the film completely drowned out.

Taking the same example, you can notice another benefit of using classical or classical-inspired pieces in some spots - that of very precise and malleable musical storytelling. Classical music has an inherent flexibility to adapt itself to an edit. It can slow down, speed up and take abrupt emotional turns in ways that the 'pop music' form allows less naturally.

But, there are times when classical music (i.e. music pre ‘30s-ish) should be avoided, generally speaking. Modern-classical, although arguably less able to tolerate very precise musical storytelling, has an effect on more tonally-serious films of being more honest, less manipulative and more emotionally subtle, so it’s probably more suitable than straight-up old school classical.

Classical music has a big presence in almost every form of visual media. Cinema, television shows, even cartoons (think ‘Bugs Bunny’), and of course, in advertising. For ads, classical music has been used in many different ways throughout the decades, introducing many people to classical music for the first time. 

I love seeing brands recreate well-known classical pieces into contemporary arrangements, bringing a more modern sound to a recognisable classical piece, like INTEL’s usage of Beethoven’s ‘Symphony No. 5’ has done. Classical pieces can also be used to support an inspirational or emotional story or message, like we’ve seen in ads such as HP’s use of ‘Summer’ from Vivaldi’s ‘The Four Seasons’, and Alfa Romeo’s use of Mozart’s 'Che Soave Zeffiretto' from ‘The Marriage of Figaro’ which uses the elegance and sophistication associated with Mozart’s composition to elevate the brand and its identity.

One of the most famous and enduring compositions used in advertising is George Gershwin’s ‘Rhapsody in Blue’. It’s a brilliant blend of classical music and jazz that has been associated with United Airlines for decades. The emotion, grand melody, and orchestration of Gershwin’s composition lends itself to United’s brand message of high quality, reliability, and trust. ‘Rhapsody in Blue’ also recently entered into the public domain for publishing rights, so like many of the compositions of Mozart, Beethoven, etc., it can be used for any brand without costs for publishing rights (but it will be hard to disassociate it with United for some time). 

We know that ads which stir strong emotions in people are more effective and memorable, and music is a great way to do this. Classical music in particular has the power to bring audiences together through its familiarity and cultural clout. Take Levi’s use of Handel’s ‘Sarabande’ in its 2002 ‘Odyssey’ ad, or Lurpak picking ‘Canis Lupus’ as the soundtrack to its ‘Kitchen Odyssey’ – these tunes transformed the creative into real entertainment and captured consumers’ imaginations. The codes and cues of classical melodies can strike whatever tone advertisers are aiming for in their campaigns, whether it’s the harsh, spiky sound of Stravinsky, or the mellow, precise, ordered Bach.

The challenge around using music in ads is that it’s not ‘one-size-fits-all’. The track should reflect your brand, so it has to be chosen carefully. The famous Cornetto ad is a perfect example – its ‘O Sole Mio’ underlines the brand’s sense of fun and spontaneity brilliantly. Stella’s more sophisticated ‘Jean de Florette’ by Jean-Claude Petit, meanwhile, gives an impression of refinement which echoes the message it wanted to push for its beer. More recently, KFC showed the true power of music as it drew on Chopin’s elegant ‘Nocturne in E Flat Major’ to romanticise its trademark finger-lickin’, elevating the enjoyment customers associate with its crispy chicken.