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Kamen said it was rejected because the filmmakers thought it was "too liturgical."
It's my number one film music holy grail. The bootleg has almost painfully beautiful music on it, but the sound quality's dire (and it's reportedly nowhere near the full score).
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No, he also had his very first film score rejected which was also fully recorded.
And then there's others I'm still looking into.
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Simply put: The film tested horribly (they ended up reshooting a bunch of it) and usually the first thing to go is the score (I actually saw the Morricone version years ago. I had a buddy at Interscope who got me into a screening). I can see why the producer's freaked because they had this $60 million arthouse flick with a gorgeous, albeit, unusual score. I personally felt it was incredible and that the film was pretty powerful as is.
The producer's also had a hard-on for Michael ever since Mr Holland's Opus and were more than happy to toss Morricone for Kamen.
Morricone's scores is one of my last Holy Grails!
As for that original cut it has a very depressing ending.
MV
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Morricone's scores is one of my last Holy Grails!
It's possibly my very last one. I hope you're able to do it justice some day (saying that, I have no idea what blocks may exist to a release).
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I used to own this but i stupidly loaned it to a "friend", who never bothered to return it
brm
ps 
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Kamen said it was rejected because the filmmakers thought it was "too liturgical."
).
that's pretty much it.
the film deals with the afterlife in a non-religious manner.
ennio scored it with a Roman Catholic 'feel'
brm
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Before IL FEDRALE? Incredible, what is the title? And what are your other ones you suspect?
LE PILLOLE DI ERCOLE (1960)
Replacement composer: Armando Trovajoli
Morricone has actually discussed the score once or twice in old interviews, though not at length.
Under investigation (which can take years):
"Highlander II: The Quickening"
Soundtrack! magazine reported this as an upcoming assignment for him, at the time)
"The Scarlet Letter"
I still don't know the precise details. This was before Bernstein.
"Vendetta"
Replacement composer Shaw said his first job scoring in sweden, was replacing Morricone.
"La Celestina"
Before Doyle (who was also not the final composer).
"A Civil Action"
For which he recorded an unknown amount of score. Unfortunately the one person who could have shed some light on, that I know of, passed away.
"Jesus: The Epic Mini series"
Replacement composer: Patrick Williams.
"A Midsummer Night's Dream"
Before Kilar (under "DEMOS" on my site).
"Bandits"
Which then went to Zimmer (who was too busy; they even offered to push the film back for him!), then to Moby (who was also too busy), and then finally to Christopher Young.
My site:
http://rejectedfilmscores.150m.com/list.html
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This absolutely deserves a release, and everyone should buy two.
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Simply put: The film tested horribly (they ended up reshooting a bunch of it) and usually the first thing to go is the score (I actually saw the Morricone version years ago. I had a buddy at Interscope who got me into a screening).
...
As for that original cut it has a very depressing ending.
MV
I think that's a major issue, if the ending was different. The ending they ended up with didn't work (in my opinion). But if the ending originally was depressing, well it can be a hard thing to get an audience to accept that... People would have 'not liked' that ending first, and the score was an incidental casualty that was written to serve that ending.
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