 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 22, 2014 - 11:49 AM
|
|
|
|
By: |
slint
(Member)
|
Time to review my post from 2012! As you can see we had quite a lot of updates, and few totally unreleased works are left (and I don't know how much have legal issues). There are also plenty of soundtracks from 1957-1962 that I have no idea if they exist or not, and I stopped at 1975.
Not yet released (tapes likely exist):
1958 Racconti d'Estate
1959 I Magliari Released by Beat
1961 L'Assassino
1961 La viaccia
1962 L'Attico Released by Beat
1962 Anima Nera
1962 Il Demonio Released by Beat
1962 Il Mafioso (De Laurentiis - legal issues)
1965 Io la Conoscevo Bene Released by Beat
1968 Niente rose per OSS 117 Released by Beat
1969 Addio, Alexandra
1969 Toh, è Morta la Nonna!
1969 Le Altre Released by Beat
1969 Giovinezza, Giovinezza
1971 Stress
1975 Fratello Mare Released by Beat
LPs not yet released on CD:
1959 Il Mondo di Notte
1961 Il Mondo di Notte Numero 2
1962 Il Diavolo (De Laurentiis - legal issues)
1964 I Tre Volti (De Laurentiis - legal issues)
1970 Le Coppie
1972 Lo Scopone scientifico (De Laurentiis - legal issues)
1972 Le Sorelle Materassi
Could be expanded:
1961 Romolo e Remo [CAM, 1995, 31 min.] Released by Digitmovies
1962 Senilità [CAM, 1992, 31 min.] Released by GDM
1962 La Commare Secca [CAM, 1993, 42 min.]
1962 La Città Prigioniera [CAM, 1993, 34 min.]
1962 Una Vita Violenta [CAM, 1992, 41 min.]
1963 Un Tentativo Sentimentale [CAM, 1991, 40 min.]
1964 Tre Notti d'Amore [CAM, 1993, 22 min.]
1964 La Fuga [CAM, 1993, 31 min.]
1964 La Vita Agra [CAM, 1993, 36 min.]
1965 Il momento della verità [CAM, 1991, 38 min.]
1965 Agente 077 dall'oriente con furore [Tsunami, 1998, 39 min.]
1970 Uomini Contro [Point, 1995, 37 min.]
1971 ...Dopo di Che, Uccide Il Maschio e lo Divora [Screentrax, 2001, 30 min.]
1971 Due Maschi per Alexa [Screentrax, 2001, 15 min.]
1972 L'Italia Vista del Cielo [Verita Note, 2009, 19 min.]
1972 Una Tomba Aperta, Una Tomba Vuota [Beat, 1995, 21 min.]
1974 Lucky Luciano [Soundtrack Listeners, 1995, 31 min.]
May be expanded(?):
1971 Puppet on a Chain [Point, 2001, 32 min.]
1974 Il Bacio [Beat, 1995, 49 min.]
Could benefit from a new release, and perhaps some additonal tracks(?)
La Decima Vittima, Fumo di Londra, Scusi, Lei è Favorevole o Contrario?, Camille 2000, Colpo Rovente, Inghilterra Nuda, Contestazione Generale, Il Dio Sotto la Pelle
|
|
|
|
|
|
|
Not yet released (tapes likely exist):
1961 La viaccia
1971 Stress
STRESS is not from 1971 and it is also not a film score so that it will probably not be released on CD by one of the regular soundtrack labels. The ballet was composed in 1965 and a suite from it was issued at that time on a Ricordi LP which you can see here:
http://collectorsfrenzy.com/details/110424602237
It is a highly interesting work, partly symphonic and partly in a jazz vein. Full of quite original musical ideas.
As to LA VIACCIA: This score will quite certainly come on CD in the near future, but have some patience.
|
|
|
|
|
|
|
|
|
|
Quite unusual CD release from Korea, but as the GDM logo can indeed be seen on the back cover, they have probably licensed the score to this Beatball label (in the same way as Trovajoli's DRAMMA DELLA GELOSIA) just as they have licensed some other scores to the Japanese Octave label.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 23, 2014 - 11:13 PM
|
|
|
|
By: |
Ag^Janus
(Member)
|
Thanks Stefan I'm really looking forward to hearing that one it sounds good to me and I really enjoyed L'uomo Che Ride and have wondered how much more music could there be missing from what was released.
Piccioni actually recorded 1+ hour of music for L'Uomo Che Ride. I am unsure why they just released a short suite when the could have made a 2 CD set. I am also unsure, however, how many different themes are in the complete score (compared to alternates).
In the now I am exploring the scores on L'UOMO CHE RIDE. The adhoc suite of Piccioni's work tacked on the end of Savina's work as a bonus track does not do justice to this fantastic work by the maestro. How this music can be given such short thrift is beyond my comprehension, possibly because it has attached to the film? A full exposition devoted to L'UOMO CHE RIDE can be the only recompense.
This is Piccioni's symphony in the romantic mold! Similar to LIGHT AT THE EDGE OF WORLD in music style and scope. I feel Piccioni's musical sensibilities and ability to compose, such techniques as harmony, contrapunctal complextity ecetera, leave Savina's effort in the shadows, that it is almost boring or conventional. This is not to say that I don't like Savina, it is his comparison to Piccioni that I find striking here. I can understand a listener's preference for a composers style, but quality of substance is on the block here, Savina's tasty fat taken as the meal while Piccioni's exquisite fillet is left as scrap. Thus ends my critique of the music.
I'll be hitting 22 on the player until something more with more respect is released.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 25, 2014 - 8:53 AM
|
|
|
|
By: |
ToneRow
(Member)
|
This is Piccioni's symphony in the romantic mold! Similar to LIGHT AT THE EDGE OF WORLD in music style and scope. I feel Piccioni's musical sensibilities and ability to compose, such techniques as harmony, contrapunctal complextity ecetera, leave Savina's effort in the shadows, that it is almost boring or conventional. This is not to say that I don't like Savina, it is his comparison to Piccioni that I find striking here. I can understand a listener's preference for a composers style, but quality of substance is on the block here, Savina's tasty fat taken as the meal while Piccioni's exquisite fillet is left as scrap. Thus ends my critique of the music.
I'll be hitting 22 on the player until something more with more respect is released.
Interesting and opposite evaluation of my own.
Let me preface by stating that neither Piccioni's unused music nor Savina's replacement music for L'UOMO CHE RIDE appeals to me.
That short suite of rejected Piccioni sounds congested with polyphony and I see little resemblance between it and Piccioni's impressionistic masterpiece THE LIGHT AT THE EDGE OF THE WORLD.
PP's symphonic styles for L'UOMO CHE RIDE seem much closer (to me) to his prior efforts on the '61 peplum ROMOLO E REMO. If one likes L'UOMO CHE RIDE, then I think there's no reason one shouldn't also like ROMOLO E REMO.
Since I currently have 15 Savina soundtracks, my ranking of his L'UOMO CHE RIDE would be ** (a 2-star effort). There's about a dozen Savina soundtracks which I prefer over this one, so L'UOMO CHE RIDE doesn't get much playing time from me.
Still, I'm very grateful for this GDM/Legend CD release because it appears that there are no more forthcoming items from this label (and no further access to recording elements from nazionalmusic and/or DeLaurentiis productions).
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 26, 2014 - 8:56 AM
|
|
|
|
By: |
Ag^Janus
(Member)
|
This is Piccioni's symphony in the romantic mold! Similar to LIGHT AT THE EDGE OF WORLD in music style and scope. I feel Piccioni's musical sensibilities and ability to compose, such techniques as harmony, contrapunctal complextity ecetera, leave Savina's effort in the shadows, that it is almost boring or conventional. This is not to say that I don't like Savina, it is his comparison to Piccioni that I find striking here. I can understand a listener's preference for a composers style, but quality of substance is on the block here, Savina's tasty fat taken as the meal while Piccioni's exquisite fillet is left as scrap. Thus ends my critique of the music.
I'll be hitting 22 on the player until something more with more respect is released.
Interesting and opposite evaluation of my own.
Let me preface by stating that neither Piccioni's unused music nor Savina's replacement music for L'UOMO CHE RIDE appeals to me.
That short suite of rejected Piccioni sounds congested with polyphony and I see little resemblance between it and Piccioni's impressionistic masterpiece THE LIGHT AT THE EDGE OF THE WORLD.
PP's symphonic styles for L'UOMO CHE RIDE seem much closer (to me) to his prior efforts on the '61 peplum ROMOLO E REMO. If one likes L'UOMO CHE RIDE, then I think there's no reason one shouldn't also like ROMOLO E REMO.
Since I currently have 15 Savina soundtracks, my ranking of his L'UOMO CHE RIDE would be ** (a 2-star effort). There's about a dozen Savina soundtracks which I prefer over this one, so L'UOMO CHE RIDE doesn't get much playing time from me.
Still, I'm very grateful for this GDM/Legend CD release because it appears that there are no more forthcoming items from this label (and no further access to recording elements from nazionalmusic and/or DeLaurentiis productions).
Thanks TR.
The resemblance is symphonic, one of impressionism the other of romanticism. Piccioni’s L’UOMO CHE RIDE is steeped in romanticism, tumultuous storms in the strings, of which I can only deduce this from the adhoc suite provided on the GDM edition. I am grateful for this suite as it's all I have, but I do have reservations noted above.
As a comparison to ROMOLO ET REMO which to my ears is brawny, muscular, chest beating, fight’n kind of thing, in the tradition of the sword & sandal franchise, I don’t think it would fit the traditional sense of symphonic. Interesting that IL FARO IN CAPO AL MONDO provides many of Piccioni’s trademark triplet thingies, in strings often. I can’t recall any in L’UOMO, but not unexpected in a 12’ snippet. What L’UOMO is … is overwhelming. Polyphony for sure (but not limited to), but this is ubiquitous symphonic music? I believe the film makers could not reconcile the overwhelming music, hence the shift to Savina’s more conventional approach.
Your tastes are quite do not seem to be in the romanticism, but the later artistic movements, from what I can gather from your postings. But by gosh Piccioni’s L’OMO is a gushing beauty, put that in your pipe. How it fits the film I do not know, somehow three musketeer like I expect.
However despite of this symphonic rambling, I’m smitten with COLPO ROVENTE, it’s electric! We are going steady. I highly recommend the BeatBall edition, if you can read Korean, or even if you can’t Mr Fuiano has given us a 2014 remaster of the elements. It’s crisp and dynamic, so much so I'm worried about the neighbours. The packaging is also how I would like all my CD’s, alas not so.
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 26, 2014 - 11:51 AM
|
|
|
|
By: |
ToneRow
(Member)
|
Your tastes are quite do not seem to be in the romanticism, but the later artistic movements, from what I can gather from your postings. But by gosh Piccioni’s L’OMO is a gushing beauty, put that in your pipe. How it fits the film I do not know, somehow three musketeer like I expect.
Yeah, this is true. When musical vocabulary sounds as if it was written prior to WW ! and doesn't acknowledge 20th century techniques, I tend to be more critical of that (such as the 1979 DRACULA sounding more like Richard Strauss opera segments than Hammer horror).
This is perhaps the core issue with me regarding Piccioni's unused score for L'UOMO CHE RIDE.
Its aural fabric sounds too thick - too busily contrapuntal. Basically, this is also the same reason why I can't get into most David Raksin scores because symphonic treatments of multiple musical lines can overwhelm the film and listener when the dramatic narrative could be better suited by less cluttered musical lines and reduced ensembles.
I've never seen L'UOMO CHE RIDE, either, but I wonder if this is a case where hiring Mario Nascimbene might have produced the most effective resultant score. Perhaps the simple resonance of gongs recorded/played-back at half-speeds might create more atmospheric ambiance (as with BARABBAS).
In any event, the producer(s) and director of L'UOMO CHE RIDE probably felt Piccioni's music went too far in an unwanted direction and instead procured more conventional movie music.
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 26, 2014 - 2:17 PM
|
|
|
|
By: |
John Smith
(Member)
|
I recognise that the OP is talking about Piccioni's music, but I've just finished reading Stephen Gundle's "Death and the Dolce Vita", which I'm happy to recommend to anyone interested in biographical information about the composer.
Gundle's fascinating true-life murder mystery details the unsolved death of budding socialite Wilma Montesi in 1953 and the ensuing affair which rocked Italian politics for a decade.
As I'm sure most hardcore fans of the composer are aware, Piccioni and two of his associates stood trial for Montesi's murder in 1957 and though the accused were found not guilty, the scandal badly impacted the career of Piccioni's father, Attilio Piccioni, the vice-prime minister of Italy, and, to a certain degree, the film career of Piccioni's lover, actress Alida Valli (of THE THIRD MAN fame), who provided Piccioni with the alibi responsible for his acquittal. As can be inferred from the title of the book, the scandal was (allegedly) the inspiration for Fellini's LA DOLCE VITA.
Whilst focusing on the Montesi affair, the book does offer a description of Piccioni's life before and after the murder. I should point out, however, that the book paints a less than flattering picture of the composer, portraying him as a sexual predator (an epithet that qualifies for a separate entry in the book's index), drug pusher and liar.
Interestingly, despite being described by the Colombian Nobel Prize winner Gabriel Garcia Marquez as "the scandal of the century", the Montesi affair doesn't merit a single mention in Piccioni's Wikipedia entry. By all objective criteria, the fact that Piccioni was indicted on a murder charge is a pretty significant biographical detail. Or does the cover-up mentioned in Gundle's book stretch to Wikipedia?
Here's a fuller review of the book for those interested:
http://www.telegraph.co.uk/culture/books/bookreviews/8668460/Death-and-the-Dolce-Vita-the-Dark-Side-of-Rome-in-the-1950s-by-Stephen-Gundle-review.html
Of course, none of this affects my appreciation of Piccioni's film music one jot and I will continue to treat the recommendations in this thread as an extended Piccioni shopping list...
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
