The title of the film is the name of a young member of the society (portrayed by Stanko Molnar) playing fatal role in Fulvio's life, which is derived from the first words of La Marseillaise.
Yale men stationed in Paris sang it to the tune of La Marseillaise.
He was also a Walloon movement activist and at the end of the Walloon National Congress there was a standing ovation after his speech, the assembly then singing La Marseillaise.
Singing the Marseillaise, they marched towards Antrim, only to be defeated in the Battle of Antrim the next day.
The longest and one of the more virtuosic movements, this piece is notable for its innovative rhythms and its brief quote of "La Marseillaise."
Strauss also adapted various popular melodies of his day into his works so as to ensure a wider audience, as evidenced in the incorporation of the Oberon overture into his early waltz, "Wiener Carneval", Op. 3, and also the French national anthem "La Marseillaise" into his "Paris-Walzer", Op. 101.
Another of Servan's ministerial initiatives was the deletion of the eighth verse of the anthem La Marseillaise in 1792.
Music for the film was supervised by Alex Toledano and scored in part by Sebastien Giniaux, who also contributed an original arrangement of "La Marseillaise."
Singular by its composition, this convoy of 230 women, Resistance members, communists, Gaullist wives of resistance members, was illustrated in La Marseillaise by crossing the entrance of the camp of Birkenau; only 49 of these 230 women would return from the camps after the war.
For example, Chabad Hasidim have adopted the French tunes of La Marseillaise and Napoleon’s March, as well as Russian or German drinking songs as a part of their liturgy.
The rhythm of the hymn was adopted from the French national anthem La Marseillaise.
In the fifth reel of the score he quotes the revolutionary anthem, "La Marseillaise" (representing the Commune), juxtaposed contrapuntally with the famous "Can-can" from Offenbach's Orpheus in the Underworld.
On 10 July the French flag was raised over the city and three days later a parade was held in the Place Saint-Martin during which a second flag was raised to the strains of Scottish bagpipers playing La Marseillaise.
Elgar also quotes the opening phrase of "Rule, Britannia!" in his choral work The Music Makers, based on Arthur O'Shaughnessy's Ode at the line "We fashion an empire's glory", where he also quotes "La Marseillaise".