R. I. P. Ennio Morricone

[Josh500 1,615]

Sad news. A reminder that we're all mortal. RIP. 

[DrTenma 116]

A very sad news... R.I.P.

[Bespin 8,480]

As I said earlier, Ennio Morricone wrote 6 arrangements for Charles Aznavour's two first italian albums.

 

Here are the french versions he also recorded in 1963 using the same musical tracks. 

 

https://open.spotify.com/playlist/7zo7ns27KfEC3DrYlZayyt?si=N8_jGECpSGam8hEUkYtMlw

[bruce marshall 1,315]

I'm thrilled and grateful that H8 was such a success.

Not because of the Awards- I could care less about that

Because, it means his legacy stretches right up to the end of his career.

Otherwise, to me PERSONALLY ,  his last GREAT work would have been 30 plus years ago.

 

RIP Il Maestro

[Jurassic Shark 12,033]

The score to The Legend of 1900 is pritty great, and underrated.

[bruce marshall 1,315]

17 minutes ago, Jurassic Shark said:

The score to The Legend of 1900 is pritty great, and underrated.

He composed many, many scores in that ' CINEMA PARADISO 'style in his last two decades.

Hardcore fans like John Bender and myself are not particularly enamored with them.

But, many fans are and I respect that

[Jurassic Shark 12,033]

Oh, so you and Bender are the best fans and you don't approve of it.

[Thor 7,478]

LEGEND OF 1900 is great, and although it always irritates me a bit when I listen to it, it's a genius move of Morricone to have that one sour note at the end of the theme, to denote the pianist's deteriorating psyche. A bit like the dissonant ending of Williams' JFK theme, signalling a more sinister destiny.

[bruce marshall 1,315]

25 minutes ago, Jurassic Shark said:

Oh, so you and Bender are the best fans and you don't approve of it.

 

[Jurassic Shark 12,033]

That's a very high quality screen grab you've got.

[Thor 7,478]

 

 

 

 

[Marian Schedenig 8,178]

1 hour ago, bruce marshall said:

1 hour ago, Jurassic Shark said:

The score to The Legend of 1900 is pritty great, and underrated.

He composed many, many scores in that ' CINEMA PARADISO 'style in his last two decades.

Hardcore fans like John Bender and myself are not particularly enamored with them.

 

But there's much more than "that Cinema Paradiso style" (lovely as it is) in 1900. Between the main theme, all the jazzy and ragtime stuff, Child, and Playing Love, the score has a much greater range than I usually expect from Morricone. And as far as elevating the film (which is one of my favourites) goes, its impact is enormous.

[Jurassic Shark 12,033]

It's indeed a very varied score, which, in addition to the beautiful melodies, makes it stand solidly on its own.

[bruce marshall 1,315]

No one can be familiar with every bit of every score the man composed!

I'm sure you are right:)

[Jurassic Shark 12,033]

3 minutes ago, bruce marshall said:

I'm sure you are right:)

 

Don't be too sure! 

[bruce marshall 1,315]

51 minutes ago, Jurassic Shark said:

 

Don't be too sure! 

Im being patronizing😛

[Jurassic Shark 12,033]

He.

[Thor 7,478]

1 hour ago, bruce marshall said:

No one can be familiar with every bit of every score the man composed!

 

That is very true.

 

I think I've heard/owned/own about 100-150 Morricone scores over the course of my lifetime, and that is only about 1/5th (or 1/4th) of his entire output. So I still have a lifetime of exploring to do. In fact, I've been meaning to explore further for decades, but have always postponed it. Now, with his demise, I find it opportune to finally do so. In fact, I've started a thread on FSM asking for recommendations for LYRICAL Morricone scores, since I've never been a big fan of his more abrasive/dissonant side. A lot of suggestions have already come in, and I've used the last 24 hours going nuts on Spotify and Youtube and what-have-you. God almighty, so much great stuff, I'm totally dizzy already.

[bruce marshall 1,315]

Morricone and my other favorite composer, John Barry , both settled into a predictable late career style that I find uninteresting.

Their music blends  into a indistinguishable collection of soundalike scores.

I dubbed the generic Barry score " SOMEWHERE IN AFRICA CHAPLIN DANCES WITH FRANCES "

I refer to late career Ennio as " THE LEGEND OF CINEMA IN AMERICA"

 

Awhile ago , I posted my " Top 40" favorite scores . Barry and Morricone were the two most represented composers with 6 and 7 respectively.

Not one after 1987.

[Koray Savas 2,251]

Morricone is my favorite composer. Once Upon A Time In The West is my favorite film and score. I discovered the Spaghetti western in the early 00s and his indelible music defined that genre and set me on a path to discover countless great Italian scores. Music that I still listen to and cherish to this day. His contributions to cinema and music are widely known, yet infinitely obscure. A composer with an unrivaled breadth of work, there are many celebrated classics and unknown gems in his repertoire. Many are my all-time favorite scores, and there are still many more to be discovered. He helped cement my love for film and its music, and for that I am grateful.

 

RIP Ennio

 

 

[Tydirium 1,166]

Just curious, does anyone know if the Love Theme itself from CINEMA PARADISO is by Andrea Morricone, or is the theme by Ennio and the actual track titled "Love Theme" was specifically written/arranged by his son? Have never been too clear on what was meant by this.

[Romão 2,274]

10 minutes ago, Tydirium said:

Just curious, does anyone know if the Love Theme itself from CINEMA PARADISO is by Andrea Morricone, or is the theme by Ennio and the actual track titled "Love Theme" was specifically written/arranged by his son? Have never been too clear on what was meant by this.

 

Yeah, I've been curious about that myself. I've seen several people sharing that theme in homage to Morricone and it would be a bit of a shame, from all the tremendous amount of great work the man has done, people would be signaling out something he didn't actually write. But I suspect he gave the credit to his son as a gesture of sorts

[bruce marshall 1,315]

Most of the ' classic film composers are heavily influenced by 19th and 20th century concert works by Wagner, Strauss, Mahler, Schoenberg, Stravinsky etc.

EM is the only one I can think of who takes his cue from J.S. Bach , specifically the chorale precludes( 1900 is a good example).

Not surprisingly, Bach is my favorite classical composer.

Another unique aspect if his music is the prominent use of soloists, guitar, trumpet. Much of his music is like a concerto!

[bruce marshall 1,315]

Reprogam of H8

FAFDM LP that never was😥

 

 

5 hours ago, Thor said:

 

That is very true.

 

I think I've heard/owned/own about 100-150 Morricone scores over the course of my lifetime, and that is only about 1/5th (or 1/4th) of his entire output. So I still have a lifetime of exploring to do. In fact, I've been meaning to explore further for decades, but have always postponed it. Now, with his demise, I find it opportune to finally do so. In fact, I've started a thread on FSM asking for recommendations for LYRICAL Morricone scores, since I've never been a big fan of his more abrasive/dissonant side. ...

Thor, NOBODY likes his " abrasive" side#😉

Btw what do you think of my PINK FLOYD/ MORRICONE linkage?

You're the prog rock expert?

[publicist 4,643]

17 hours ago, Brundlefly said:

@publicist I'd really be delighted if you'd throw in another dozen of recommendations of sad Ennio Morricone scores, like you did in the other thread.

 

Here you'll find, regardless of genre, at least two or three of EM's best belcanto melodies, though it's by no means comprehensive.

 

[Score 770]

8 hours ago, Tydirium said:

Just curious, does anyone know if the Love Theme itself from CINEMA PARADISO is by Andrea Morricone, or is the theme by Ennio and the actual track titled "Love Theme" was specifically written/arranged by his son? Have never been too clear on what was meant by this.

 

From what I understood from reading interviews in the course of the years, Andrea Morricone composed the love theme, at least in terms of melody and harmony. Then, I don't know (and I think nobody knows) whether he also did the orchestral arrangement, or if that was done by Ennio. A few years ago, I saw a manuscript on Andrea Morricone's website (which is not available anymore) with the theme written on two staves; it was claimed to be the original manuscript of that piece, before the orchestration. I recall it was written in the key of F sharp minor, instead of G minor, which is the key in which it was arranged for the movie. The page also had several textual annotations in Ennio Morricone's handwriting, which I know from other sources, with schematic instructions on how to build the structure of the piece. It's a shame I cannot find that site anymore!    

 

EDIT: I had saved the picture on my PC! Here it is. It is really a preliminary sketch. There is an annotation at the beginning to transpose up 1/2 tone, and I am almost 100% sure that the text at the bottom of the page is in Ennio's handwriting. It says that the theme should be repeated 4 times, with a simple description of how it should be varied each time.

 

 

[Jurassic Shark 12,033]

20 minutes ago, Score said:

 

From what I understood from reading interviews in the course of the years, Andrea Morricone composed the love theme, at least in terms of melody and harmony. Then, I don't know (and I think nobody knows) whether he also did the orchestral arrangement, or if that was done by Ennio. A few years ago, I saw a manuscript on Andrea Morricone's website (which is not available anymore) with the theme written on two staves; it was claimed to be the original manuscript of that piece, before the orchestration. I recall it was written in the key of F sharp minor, instead of G minor, which is the key in which it was arranged for the movie. The page also had several textual annotations in Ennio Morricone's handwriting, which I know from other sources, with schematic instructions on how to build the structure of the piece. It's a shame I cannot find that site anymore!    

 

EDIT: I had saved the picture on my PC! Here it is. It is really a preliminary sketch. There is an annotation at the beginning to transpose up 1/2 tone, and I am almost 100% sure that the text at the bottom of the page is in Ennio's handwriting. It says that the theme should be repeated 4 times, with a simple description of how it should be varied each time.

 

 

 

Interesting! Are you able to interpret all of what's written at the bottom?

 

8 hours ago, bruce marshall said:

Another unique aspect if his music is the prominent use of soloists, guitar, trumpet.

 

I'm sure John Williams is pleased! The guitarist, that is...

[Score 770]

16 minutes ago, Jurassic Shark said:

 

Interesting! Are you able to interpret all of what's written at the bottom?

 

It says:

 

Tema 4 volte:

1) Libero e lento (espressivo)

2) Poco più mosso

3) Più mosso e cresc. (arpeggi)

4) Forte

 

which means:

 

Theme 4 times:

1) Free and slow (expressive)

2) Moving a little 

3) Moving and "crescendo" (with arpeggios)

4) Forte

[Jurassic Shark 12,033]

Thank you!

[Thor 7,478]

6 hours ago, bruce marshall said:

Thor, NOBODY likes his " abrasive" side#😉

Btw what do you think of my PINK FLOYD/ MORRICONE linkage?

You're the prog rock expert?

 

It's no secret that Pink Floyd was inspired by Morricone. Roger Waters - who collaborated with him on "Lost Boys Calling" from THE LEGEND OF 1900 - has some nice things to say after his death, as quoted from Kristian Sensini's obituary: 

 

Quote

 

Yesterday I received this from Roger Waters, he’s a member of www.ACMF.it the same association Maestro Morricone was the Honorary President of.

 

“Maestro Morricone’s melody will haunt me the rest of my days.

The spotlight fades the boys disband

The final notes lie mute upon the sand

And in the silence of the grave

I can still hear those lost boys calling

Love Roger.”

 

 

Also, if you listen to something like "Erotico Mistico" from MADDALENA, you can easily hear shades of "Heart Beat, Pig Meat" from Pink Floyd's ZABRISKIE POINT or "Set the Controls for the Heart of the Sun" from A SAUCERFUL OF SECRETS. 

 

I also like to think that Morricone was inspired by Pink Floyd, or at least had some affection for them - given their similar approach to finding a space between art music and pop music. I can't remember having ever read any quotes in that regard, though.

[bruce marshall 1,315]

7 hours ago, Thor said:

 

It's no secret that Pink Floyd was inspired by Morricone. Roger Waters - who collaborated with him on "Lost Boys Calling" from THE LEGEND OF 1900 - has some nice things to say after his death, as quoted from Kristian Sensini's obituary: 

 

 

Also, if you listen to something like "Erotico Mistico" from MADDALENA, you can easily hear shades of "Heart Beat, Pig Meat" from Pink Floyd's ZABRISKIE POINT or "Set the Controls for the Heart of the Sun" from A SAUCERFUL OF SECRETS. 

 

I also like to think that Morricone was inspired by Pink Floyd, or at least had some affection for them - given their similar approach to finding a space between art music and pop music. I can't remember having ever read any quotes in that regard, though.

Thanks 😊Thor

It was.not known to me but my ears figured it out!

[Lewya 360]

John Zorn in The New York Times on Ennio Morricone:

https://www.nytimes.com/2020/07/08/arts/music/ennio-morricone-john-zorn.html

Ennio Morricone Was More Than Just a Great Film Composer
He was one of the great composers, period.

Ennio Morricone was more than one of the world’s great soundtrack composers — he was one of the world’s great composers, period. For me, his work stands with Bach, Mozart, Debussy, Ellington and Stravinsky in achieving that rare fusion of heart and mind. Dare we compare the five notes of his famous “coyote call” in “The Good, the Bad and the Ugly” with the four opening notes of Beethoven’s Fifth Symphony? Morricone’s music is just as timeless.

Morricone, who died on Monday at 91, has been an influence and an inspiration since I first encountered his work as a teenager in 1967. “The Ecstasy of Gold” from “The Good, the Bad and the Ugly” hit me with the same power as modernist masterpieces like “The Rite of Spring,” Ives’s Fourth Symphony and Varèse’s “Arcana”; it shares their complex rhythmic invention, unique sound world and lush romantic sweep.

Embracing the soaring lyricism of his Italian heritage, Morricone’s gift for song was extraordinary. He was one of those musicians who could make an unforgettable melody with just a small fistful of notes. His meticulous craftsmanship and ear for orchestration, harmony, melody and rhythm resulted in music that was perfectly balanced; as with all master composers, every note was there for a reason. Change one note, one rhythm, one rest, and there is diminishment.

Having roots in both popular music and the avant-garde, Morricone was an innovator, and he overcame each new challenge with a fresh approach, retaining a curiosity and childlike sense of wonder. He was always open to trying new sounds, new instruments, new combinations — rarely drawing from the same well twice.

He was a man of integrity who did not suffer fools gladly. Stories of his responses to inane directorial suggestions are legend, including one of my favorites: “In the history of music, nothing like that has ever happened — nor will it ever happen.” He lived a relatively simple life in a beautiful apartment in Rome, waking as early as 4:30 in the morning, taking walks and composing at his desk for hours on end. He traveled little.

What needs to be understood is that Morricone was a magician of sound. He had an uncanny ability to combine instruments in original ways. Ocarina, slapstick, whistling, electric guitar noises, grunts, electronics and howls in the night: Anything was welcome if it had dramatic effect. By the 1960s, the electric guitar had become central to his palette and he was able to blend it into a variety of unusual contexts with dramatic flair. In “Svegliati e Uccidi,” he has the guitarist imitate the “rat-a-tat-tat” of a machine gun through the amplifier’s spring reverb, and his instruction to the musician to “sound like a spear” resulted in one of the most intense guitar tones ever recorded, in “Once Upon a Time in the West.”

His mastery of a wide range of genres and instruments made him a musician ahead of his time. He could explore extended techniques on a trumpet mouthpiece in a free-improvisational context in the morning; write a seductive big-band arrangement for a pop singer in the afternoon; and score a searing orchestral film soundtrack at night. This kind of openness remains the way of the future — and was a formative model for me.

Morricone is best known for his film work, but we must never forget his large catalog of “absolute” music — his classical compositions. There the music comes straight from his heart. And yet what he accomplished in the challenging and restrictive world of film music is nothing short of miraculous. There, his immense imagination, sharp ear for drama, profound lyricism, puckish sense of humor and huge heart find voice through a magnificent and masterly musicianship. Artistic freedom was his credo, and his impeccable taste and innate sense of energy, space and time was palpable. His work elevated every film he scored.

One of my dearest memories is visiting him at a recording session in New York, around 1986. He was, as always, a gentleman: elegant, gracious and more than kind to a young fan who stood humbled in front of his hero. We spoke through a translator for much of our conversation, but he took me aside for a few moments and shared some composerly advice on working in movies. I will always remember his words to me that day: “Forget the film. Think of the soundtrack record.”

Many composers wonder, and may even worry, if their work will live on after they are gone — if their contribution will be remembered and their music treasured. Morricone need have had no such fears. His work has been embraced; he achieved that rare balance of being profoundly influential to both the inner world of musicians and to society as a whole. His sonic adventures stand on their own merits both in the context of the films he scored and on their own terms as pure music. This was his magic.

He was more than a musical figure. He was a cultural icon. He was the maestro — and I loved him dearly.

[Thor 7,478]

Very well put by John Zorn. Bravo!

[bruce marshall 1,315]

15 minutes ago, Thor said:

Very well put by John Zorn. Bravo!

Yup.

He wrote great liner notes for the ENNIO MORRICONE V. 1 and 2,  CDs that came out in the mid 80s.

I am pleased that the obits I have read , thus far, didnt start with obligatory"..... Oscar winning composer Ennio Morricone...." B.s but went straight to the westerns ; which is proper historically and artistically

 

 

 

[bruce marshall 1,315]

Another great rocker who was a fan.

His cover of " Magic and Ecstasy" surpasses the ost!

[Thor 7,478]

Plenty of rock acts and artists who have been inspired by Morricone. There's also Metallica, Muse, Radiohead, Goldfrapp and Portishead, for example.

[Tydirium 1,166]

On 7/6/2020 at 7:54 PM, Marian Schedenig said:

 

 

Holy moly, what a scene. I've never seen the film and am only familiar with the first track on the soundtrack album (such a great theme), but this clip alone made me tear up. The little woodwinds interjections (1:47) remind me of Williams.

[bruce marshall 1,315]

32 minutes ago, Thor said:

Plenty of rock acts and artists who have been inspired by Morricone. There's also Metallica, Muse, Radiohead, Goldfrapp and Portishead, for example.

RadioHEAD and Port8sHEAD?

Thanks for the heads up.:)

Iirc

More than one guitarist has cited the use of the 12 string electric used in OUTW as inspiration.

[Marian Schedenig 8,178]

9 minutes ago, Tydirium said:

Holy moly, what a scene. I've never seen the film and am only familiar with the first track on the soundtrack album (such a great theme), but this clip alone made me tear up. The little woodwinds interjections (1:47) remind me of Williams.

 

The whole film is like that.

[Tydirium 1,166]

Looks like I need to see it asap!

[Quintus 5,399]

On 7/7/2020 at 1:21 PM, Josh500 said:

Sad news. A reminder that we're all mortal. RIP. 

 

Yeah, up until the other day I had been thinking I was in fact immortal. 

[Koray Savas 2,251]

2 hours ago, Thor said:

Plenty of rock acts and artists who have been inspired by Morricone. There's also Metallica, Muse, Radiohead, Goldfrapp and Portishead, for example.

I always loved the Morricone inspired opening/chorus to "Clint Eastwood" by Gorillaz. His style permeated all genres and cultures.

 

[bruce marshall 1,315]

24 minutes ago, Koray Savas said:

I always loved the Morricone inspired opening/chorus to "Clint Eastwood" by Gorillaz. His style permeated all genres and cultures.

 

So many parodies have been done..

RANGO by Zimmer

I remember a GET SMART parody of .....SIERRA MADRE that ended with a GBU style shoot out

[Koray Savas 2,251]

3 minutes ago, bruce marshall said:

So many parodies have been done..

RANGO by Zimmer

I remember a GET SMART parody of .....SIERRA MADRE that ended with a GBU style shoot out

Or this not so subtle homage in At World's End.

 

[bruce marshall 1,315]

Listening to the title of GBU...

The ultimate blend of rock music and symphony!

Never tire of it.

Strange, but it tends to get overlooked because of the amazing " Ecstasy of Gold" sequence.

But, as a pure piece of music, it is unsurpassed.

 

" The greatest score ever written for a motion picture"

  Film Score Monthy (2004)

 

True then. True now!

[publicist 4,643]

6 hours ago, Quintus said:

Yeah, up until the other day I had been thinking I was in fact immortal. 

 

Stop watching that damn comic book crap!

[Kasey Kockroach 2,344]

Orca, The Thing and The Mission are the only works of his I'm familiar with. Any recs?

[Naïve Old Fart 9,507]

THE MISSION;

THE GOOD, THE BAD, AND THE UGLY;

ONCE UPON A TIME IN AMERICA;

CINEMA PARADISO.

They should keep you going, for a while.

[Nick Parker 3,040]

The Thing is my favorite, but it didn't seem very appropriate for the current occasion.

 

I've always had a soft spot for the tongue in cheekish but still kinda badass My Name is Nobody.

 

 

 

 

59 minutes ago, Kasey Kockroach said:

Orca, The Thing and The Mission are the only works of his I'm familiar with. Any recs?

 

[Score 770]

A masterpiece that is not as well known as it should be (at least here), is "The Secret of the Sahara", the score for an Italian TV miniseries. The main theme is absolutely gorgeous, and the rest of the score is full of highlights ("The Hawk", "The Mountain", which was also used in Inglorious Bastards...). It's strange that he never played a suite from it in concerts.