I can tell you one place where the use of Orff's "O Fortuna" became so cliched that everyone except the aesthetically clueless did stop using it, for that reason, and that is as backing music for SF convention masquerade entries.
As I implied before, I'm not sure if I agree with Palmer or not, on the question of whether the tritone is cliched, and certainly on the question of what Britten achieved by avoiding it. But I understand the nature of Palmer's argument, including the part you discuss in your last paragraph. His may seem an implausible argument, and may in this particular case be completely unjustified; my point in citing Bartok and the monster movies was to show that such a state of aesthetic reaction is in fact possible, whether it exists in this case or not.
no subject
As I implied before, I'm not sure if I agree with Palmer or not, on the question of whether the tritone is cliched, and certainly on the question of what Britten achieved by avoiding it. But I understand the nature of Palmer's argument, including the part you discuss in your last paragraph. His may seem an implausible argument, and may in this particular case be completely unjustified; my point in citing Bartok and the monster movies was to show that such a state of aesthetic reaction is in fact possible, whether it exists in this case or not.