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GIGANTI DI METROPOLIS is a definite must-have for me! I like to get all the sword-and-sandal, or "peplum," scores. Some are total duds, similar to that pervading "wall of sound" we get today. But others are magnificent, with lovely themes, and they're not always the ones you expect.
Frankly, I don't remember GdiM as such a great score, but who cares! I get these more for the nostalgia than anything else.
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When Kronos began announcing/issuing 3 albums per release date from their KronGold production line, usually I have been interested in one title much more than the other 2 offerings (e.g. La Cieca Di Sorrento or Col Ferro E Col Fuoco).
This time around, there's 2 must-haves for me: Il Gigante Di Metropolis & L'Araucana.
This latest batch, IMO, contains the most impressive music since the launch of KronGold.
And this during a week of extra-strong European offerings from both MusicBox (Mississipi Mermaid) and Quartet (the Antonioni box set).
May of 2015 is a great time indeed for collectors of music by Carlo Savina or Giovanni Fusco!
[P.S. I think it's interesting that, so far, Kronos hasn't issued any film music from the 1950s in their Gold Collection. One would think that late-'50s scores by under-represented Italian composers such as Carlo Innocenzi (to name only one) would have a home within KronGold]
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Though there may not be a must-have for me this time round, I truly admire and appreciate your efforts to disclose (Italian) music that has never been released in any form!
'Canterbury N. 2' does sound interesting, however ...
Interesting. My tastes are apparently at the other end of the spectrum with respect to your tases, Gorbadoc.
The other 2 albums sound appealing to me.
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GIGANTI DI METROPOLIS is a definite must-have for me! I like to get all the sword-and-sandal, or "peplum," scores. Some are total duds, similar to that pervading "wall of sound" we get today. But others are magnificent, with lovely themes, and they're not always the ones you expect.
Frankly, I don't remember GdiM as such a great score, but who cares! I get these more for the nostalgia than anything else.
Glad that Trovajoli's GIGANTE is a must-have for you as well.
However, I'm curious about which peplum soundtracks are "duds"?
Personally, I like albums which create atmosphere and mood via acoustic instruments functioning as sound effects. Melodic themes need not apply. 
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GIGANTI DI METROPOLIS is a definite must-have for me! I like to get all the sword-and-sandal, or "peplum," scores. Some are total duds, similar to that pervading "wall of sound" we get today. But others are magnificent, with lovely themes, and they're not always the ones you expect.
Frankly, I don't remember GdiM as such a great score, but who cares! I get these more for the nostalgia than anything else.
Glad that Trovajoli's GIGANTE is a must-have for you as well.
However, I'm curious about which peplum soundtracks are "duds"?
Personally, I like albums which create atmosphere and mood via acoustic instruments functioning as sound effects. Melodic themes need not apply.
Well, all of the peplum scores usually have atmosphere and mood effects, mostly because there are always mysterious things going on in the plots. I also think they may have utilized that "solo female voice" as background, long before it became fashionable among the Zimmer Set.
But, personally, I gravitate more to the Golden Age type of score, with recognizable themes, mixed together as background, and generally with a strong love theme. You rarely hear this in today's scores, if at all.
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Posted: |
May 26, 2015 - 3:54 AM
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By: |
Gorbadoc
(Member)
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Interesting. My tastes are apparently at the other end of the spectrum with respect to your tases, Gorbadoc.
The other 2 albums sound appealing to me.
I don't like peplum scores (and most film scores from the fifties in general, be they American or Italian), as they often tend to sound a bit too generic to my ears. I'm much more into the "creative and unconventional music" (as someone else put it in this thread) that emerged in an incredibly wide range of Italian film genres from the middle of the sixties onwards.
Also, while I appreciate Trovaioli, Savina and the De Angelis brothers, they are not my favorite composers. Especially Savina is truly hit or miss for me (and I've heard more misses so far). On the other hand, I cherish the scores by Nicolai, Fidenco, Marchetti and Romitelli that already have been released in this Gold Collection 
Of course, I'm not criticizing this batch, quite the opposite. In fact, the more I listen to the samples of 'Canterbury N 2', the more I'm inclined to buy it in the end
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Posted: |
May 27, 2015 - 11:34 PM
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By: |
Ag^Janus
(Member)
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Also, while I appreciate Trovaioli, Savina and the De Angelis brothers, they are not my favorite composers. Especially Savina is truly hit or miss for me (and I've heard more misses so far).
Your statement here only reinforces what I mentioned prior about our divergent tastes.
During the past few years, the music of Carlo Savina has hooked me. I'm in the process of attempting to acquire every Savina album I can. I've gotten between 18 & 20 discs so far, and there's around 13 more Savina soundtracks on my wishlist.
So far, only 2 are disappointments to me and there's 10 Savina scores which I rank as 4-star masterpieces.
Interestingly, the Italian composers who are 'hit or miss' with me include Rustichelli, Ortolani & de Masi.
I also think there may be a inverse correlation between fans of Carlo Savina and Bruno Nicolai.
Some folks who love Nicolai's music tend to be less than enchanted about Savina's.
The reverse applies to me - I consider Savina one of my Top 5 favorite Italians whilst Nicolai does not even appear within my Top 10.
But ... not to detract from this Kronos thread ... everyone has his/her own faves - like flavors of ice cream.
My tastes are similar to yours Zardoz. Ortolani hits and misses like bingo. Nicolai and Rustichelli are pretty much like lotto.
KronGold has kept true to the golden age style, Savina batting a very late golden age in 1971 on L'ARAUCANA. Perhaps this was the desire of the director for the particular style, or the film really called for it?
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