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If you enjoy his score for WHAT DREAMS MAY COME you might also enjoy DAYS OF HEAVEN. among his more lyrical work, contemplative work. Also, LOLITA is a very melancholy score.
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Days of Heaven Nostromo Oceano Sorstalanság (aka Fateless) Veruschka
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One of my favorite Morricone scores is "Addio fratello crudele". It is largely lyrical -- a gorgeous use of choral music and a lilting, extremely melancholic main theme. The harsh, tragic, violent, garish nature of the plot is offset by the lyricism of the music. There is a suite available on YouTube. I believe the music may veer into dissonant tonalities near the end of the film when all hell breaks loose in a bloodbath of revenge and violence. I think this is the CD I will spin tonight when I get home. (The YouTube suite may be under the English title of the film, "Tis Pity She's a Whore.")
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L'assoluto Naturale Ripley's Game Cinema Paradiso Once Upon A Time In America La Donna Invisibile
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Posted: |
Jul 6, 2020 - 8:29 AM
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By: |
Tall Guy
(Member)
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... And preferably scores that stick to this throughout the majority of the album Many, if not most, of his scores have non-lyrical tracks and these can be abrasive. Even something like Two Mules For Sister Sara (1970) ... fabulous, quirky, wonderful suddenly hits you with The Battle which changes the mood completely. Similarly Ninfa Plebea ... beautifully lyrical until Allo sbando destroys the mood. Even the gorgeous C'era una volta il west (1968) has several discordant tracks. But looking to suggest titles which fit your criteria, I'd suggest: Incontro (1971) ... one of his loveliest main titles leads off a 30 minute album (still a little repetitive but excellent nonetheless) Gli Occhiali D'Oro (1987) La Luz Prodigiosa (2003) Lucia (2005) e la Donna Creò L'Uomo (1964) ... this having one of his infectious themes - very much of its time. or, as a substitute: Menage all'italiana (1965) which is also of its time but includes the wonderful Anna Moffo. I'm surprised to see Moses the Lawgiver (1975) mentioned ... I borrowed a copy of the single LP release back in 1978 or thereabouts ... but kept recordings of only three (from 13) tracks ... the rest of the album was unlistenable! Happily, years of listening to Bartók, Stravinsky - even Charles Ives! - means such alien sounds are no longer so way-out Mitch Mitch is right (as ever!) with his summation of the lyrical being punctuated by the abrasive, but if you dismiss scores because of the latter you’ll miss some of the best of the former! Case in point - Sacco and Vanzetti. Some of the most heartachingly gutwrenchingly beautiful tracks ever to show the father/son ties that will be severed by the electric chair, and the track representing the electric chair itself. I always expect the lights to flicker when I play it. Add the three chapters of the Joan Baez ballad (with astonishing instrumentation) and the anthemic “Here’s to You” - which one day I’ll turn into a football chant - and S&V is an awe-inspiring cd.
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Some have already received mention... Giu La Testa Marco Polo I Promessi Sposi La Califfa Gli Indifferenti Nostromo Maddalena
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As I write I am listening to Giordano Bruno. I haven't played it in a while, so far so good.
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There are many Morricone classics, and no doubt his Leone Western or movie score like THE UNTOUCHABLES or THE MISSION are well known here. One of my all time favorite Morricone scores at least partly (but only partly) fits the bill: his score for MOSES - THE LAWGIVER. At 100 Minutes on 2CDs, it is probably the longest Morricone score I have, but every minute is great. Some of it is deeply lyrical, contemplative music, some with choir, with mystical intensity... while other parts are highly modernist, atonal and non-melodic (more in line with music by Ligeti and Penderecki). The shorter, single LP/CD editions shift the focus of the score to the more lyrical elements (though I find his expressive avant-garde cues excellent, but I like Ligeti and Penderecki too... ). So about 35-40% of the score is very lyrical Morricone (very spiritual), while about 50% of the score is not for those who long for melody. The rest are idiosyncratic, rhythmic Morricone choral pieces, etc. It may be the Morricone score I will listen to tonight.
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I will name only one for you, Thor, expecting that it's too obscure for many people to have discovered: UNA BREVE STAGIONE (1969), whose only CD issue as far as I know was an inappropriate pairing with the incompatibly harsh and dissonant LA VIOLENZA: QUINTO POTERE. Of course, BREVE STAGIONE follows the other on the disc. BREVE STAGIONE is essentially a two-theme album whose secondary theme is a chase/suspense motif that is grating in two cues. But its primary theme (and the majority of the score) is an incredibly gorgeous long-form melody, with compelling development among renditions either choral or orchestral. (The frequently-presented "I cantori moderni" perform lovely work in this score. If Edda Dell'Orso is among them she has no solo vocal this time, but the album doesn't suffer for her absence.) Once in 1972 I phoned a friend and had to interrupt him to ask what it was that I could hear him listening to, which was too distractingly beautiful for me to pay attention to his conversation. He said it was BREVE STAGIONE, on a tape of different Morricone albums another friend had just made for him. At the height of my own Morricone fandom, I immediately tried to order that from my European sources but found the Italian LP was already out of print. Fortunately, that well-connected friend managed to dredge up a copy for me about six months later. It has always remained one of my favorites from this composer. If today has you in the mood for Morricone's lyrical side, this could be one you'll never regret.
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