Meeting Alessandro and Ennio

Much has been highlighted over the past year of so much bad news and sad news but here is a little anecdote I am sure will at least brighten up your day.

I am sure a great many of you go to the movies and find something that has had some impact in maybe a small way in your memory. Take, for example, Star Wars, Dr. Zhivago, The Piano, Schindler's List, Sound of Music, E.T. and so on. What I am driving at is that most of you at some time or other could be heard humming a piece of music from these movies.

This is my little story on how I came to meet two of the geniuses of Italian film music.

My film music interest began way back in the 1960s and it was scores like The Magnificent Seven and A Fistful of Dollars that really got my attention. I know that when someone poses a question to me, "What is the most memorable thing about A Fistful of Dollars or The Good the Bad and the Ugly?" I answer: The Music. If we just take an example from Fistful of Dollars and dissect the the main theme we find that it is whistled and played on guitar.

The artist in this case in none other that the great Alessandro Alessandroni who for my money is the finest example of pure genius.

Some of us who are indeed familiar with the works of Ennio Morricone, Francesco De Masi, Piero Umiliani, Luis Bacalov and last but by no means least Bruno Nicolai will have heard the incredible contributions that Alessandro and I Cantori Moderni De Alessandroni (Alessandroni Modern Singers) have made from the heyday of Italian cinema. I believe that Alessandroni epitomizes genius and his virtuosity speaks volumes.

You have only to listen to Ennio Morricone's score for Once Upon a Time in the West or Bruno Nicolai's Indio Black -- even Nicolai's Boun Funerale Amigos Paga Sartana or Gli Fumavano Le Colt Lo Chiamavano Camposanto and Alessandroni's own super score, El Puro. There is an endearing quality about this music and its longlasting effect.

I was in London last September and was stopping with a very good friend of mine, Lionel Woodman, a record producer, in Kent. It so happened that Maestro Alessandroni was staying at his house. (I half expected him to be there since Lionel has done wonders to promote his works.) This was a once in a lifetime opportunity not to be passed up. I would go so far as to say I half expected him since I had spoken to him on the phone from Dublin at Lionel's home a few times previously. What a lovely, genial man this is, very unassuming and very modest in his contribution to the film music world.

We had dinner together at Lionel and Yasmine's house (Yasmine is his wife) and we chatted not just about music but about life in general. We all went to Bush House of the B.B.C where Alessandro gave a short interview and returned that evening for dinner again. When dinner was over both Alessandro and I sat down (he at the piano -- I cannot play a note) and had an impromptu jazz session, singing old standards like "Pennies from Heaven" and numerous other songs. I was trying to sing, if you know what I mean. But he is a master and the proof is that he can play any musical instrument. I am happy to say that his most recent outing is also available on CD, Trinity Goes East. What an evening it was and I will treasure it for as long as I live.

On Friday, September 8, 2000, Alessandro performed live at the I.C.A. The Mall in London and what a show he put on. There were young and old alike present and it was great to see him getting standing ovations. This man deserves better recognition than has been awarded to him. Thanks again to Lionel Woodman for giving me the opportunity to meet such a distinguished musician and being able to share two days with him.

Now I turn my attention to Maestro number two who is indeed a name synonymous with film music for the greater part of 40 years. Maestro Ennio Morricone is one of those rare people who has been at the handle of everything he has done during this time. He wrote such epic scores as A Fistful of Dollars, For a Few Dollars More, The Good The Bad and The Ugly, The Untouchables, The Mission, Casualties of War, Once Upon a Time in the West and far too many to name.

Little gems like The Legend of 1900 and Malena are currently available in Dublin stores for those who are interested in film music. Sadly the fraternity in Hollywood have snubbed him once again on his nomination for best score (Malena) but such is life. I wrote to Maestro Morricone on a number of occasions but never got the opportunity to meet him -- that was of course until this year.

My good friend Lionel Woodman of whom I spoke of earlier informed me by phone that Ennio was coming to London. So without further ado I immediately ordered my ticket from The Barbican in London. I rang his Italian agent, Enrico DeMelis, and wanted to find out what his itinerary was going to be, but he had at this stage no final details.

Some seven days prior to the event I rang again and Enrico advised me that he would come to London on March 9th and would be staying at the Great Eastern Hotel, Liverpool St. and said Ennio had agreed to meet me. Enrico also wanted me to be present at the press conference (at 15:00hrs) but unfortunately I was unable to get there on time. Some stations on the tube were closed (due to suspect packages) and this was a stumbling block given that I was coming from Hounslow.

I did eventually get there and the photo call was in session. I saw this man come from behind one of the doors and said to myself -- well there he is, the man whose music I have shared and admired for the greater part of 35 years. I wanted so much to say hello but decided to wait my turn. I spoke for a few moments with some Italian record executives and concert promoter Alex Poots and exchanged a few cordial chuckles. I asked then where could I find Enrico DeMelis and they said ask at the reception.

I proceded to the reception to ask if I could speak to Signor DeMelis and the concierge rang his room and said to him, "Sir, your car is here," so I immediately interreupted him, "No, no, I'm not his bleeding chaffeuer!" to which he replied, "Terribly sorry, sir."

He passed me the phone and I spoke to Enrico and said I was sorry but tried to explain to him about the suspect packages but he could not understand. However, he said to me "Eh! Giuseppe, today not possible" -- so I said tomorrow, he said you ring tomorrow, Saturday at 10:00 so I agreed.

I went back to Hounslow knowing in my heart of hearts if it was going happen now, it will. I rang Enrico the next morning promptly and he asked if I could make it at 11:00 to meet him -- I said no -- it would take me too long to get there. Then he said 16:30 and I said perfect. My heart began to race with excitement at the prospect of meeting my hero, one the most respected and revered film music composers in the world today.

I arrived at the hotel at 16:15 and began chatting with a couple of nice receptionists. The minutes ticked away for me as I waited with anticipation. Then the moment arrived: in through the doors of the hotel stepped Ennio Moorricone, his wife, Maria, and Enrico DeMelis and his wife. I remained in the backround until my time was right. Then Enrico spotted me (even though he had never seen me before) and hailed "Giuseppe!"

"Yep!" I said, "that's me." He beckoned me over to meet Signor Morricone -- I extended my hand and grasped his and said, "Come es stai, Maestro." He said, "Very well, thank you," so I said to him, "You have fooled us all of this time -- you can speak English!"

"Oh, no," he said, "poco poco" (only a little).

Then Enrico introduced to me Signora Morricone and I gently kissed her hand and Enrico's wife's hand too. I spoke to Ennio for 10 minutes and explained what his music meant to me over the years -- he was quite chuffed. He asked if I was going to the concert (I said, "What concert?" jokingly) and I responded, "Of course I am." Through his interpreter he asked if I had a ticket and sure enough I had. Prior to our departure he said on a cautionary note: Tell Giuseppe (through his interpreter) that he may not like the first part of the concert. I said to him I know what it's like ("Improvisazione Dell Nouvo Gruppo Consonanz"a) and his immediate response was, "Oh! no." But he knew what I was getting at: it was his avant garde music. I aked if he would pose for a photograph with me and he was ever so forthcoming.

I have met people who are less well known but he showed a real nice side which is rarely seen. We parted company in about 15 minutes and I know he was working against the clock so it would not have been fair to even ask for autographs. For the 15 minutes I was granted I am indeed eternally grateful.

I went to the concert at the Barbican that night knowing that another lifelong ambition had just been completed and realized. The concert was indeed as one would have expected it: absolutely brilliant. Though sadly it would have been even better had Alessandro Alessandroni performed with the City of Rome Symphony Orchestra on the night with Bruno Nicolai (now deceased) conducting the western suite.

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