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Posted: |
Feb 21, 2014 - 6:36 PM
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By: |
Morricone
(Member)
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Two special concerts for me were scheduled a month apart. Both as rare as diamonds. The Elmer Bernstein concert has just passed and I did my utmost to get the word out. Maybe in Verona Ennio Morricone is treated like John Williams is here. I see Williams once a year (lately it has been twice), he is a treasure and a neighbor. But here in Los Angeles we see Morricone as much as they see Williams in Verona, not at all. The upcoming Morricone concert right smack in downtown LA, less than 3 miles from me, is going to be historical, Ennio meets Hollywood. In honor of this I am reviving a series I did here years ago. The one I did for Elmer Bernstein I just did was modeled on it. Naturally I never know how this is taken, all I usually hear is crickets. But based on Jon Burlingame telling me he printed copies of them and filed them in his library I figure I have one pretty nifty reader.
I decided rather than picking up where I left off during his glory days (you can read 50 of them below), I want to get across that even though Goldsmith, Bernstein, Williams and Morricone may slow down in their 60s and 70s, being less inspired than in their youth when every score was a challenge, the spark does ignite with the right project. Gino Bartoli was not only a champion road cyclist before World War II but helped the Italian resistance and hid a Jewish family during the Fascist regime, obviously at his own peril. This was during Morricone's youth and he might have been a childhood hero. At 78 you tend not to write visceral scores. A 2 part TV movie of a bike rider with races tends to summon up clichés. Big splashy triumphs with all the bombast you can summon. Ah, but cycling is a solitary sport, is it possible to do the same but intimately? At various points there is a lone piano, a lone violin and, the loneliest of them all, a lone harmonica, just to emphasize the point. Now listen to the main theme as it emulates breathing, pumping, the heartbeat and even the electronics doing the distortion you hear through when you hear the wind at high speeds. Add to that the feel of freedom on the open road:
http://www.youtube.com/watch?v=XG6LBqJXEmk&feature=youtu.be
There is beauty (In Vista Al Papa), touching moments (Matrimonio d'amore) and lots of intrigue (Togliatti). Above all is the thoroughly original main theme from a composer who has seen and done it all by 2006. The film was directed by Alberto Negrin with whom Morricone has collaborated at least half a dozen times since SECRET OF THE SAHARA in 1988.
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