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So much of this stuff gets reprinted from other publications, most of whch has only been available in italian and is so heavy translators have difficulty putting it into english.
not so long ago there was a coffee table book with quite a few quotes from morricone about different films and directors. its possible one is taken from the other. There is a book in italian with the same title as this - whether it is the same one, first time in english, is not known to me.
Be warned, as some of you will know, usually anything by miceli is as heavy as concrete and can only be interpreted by other composers and experienced musicologists. But buried among the reams of complexity, are often some choice morricone stories.
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Posted: |
Sep 20, 2017 - 12:39 PM
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By: |
Ludwig van
(Member)
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Yes, it does sound like he is citing interchangeability. But then there's the remainder of what he says on these pages in response to Miceli, whose comments follow directly on what I wrote above:
Miceli: I hope to interpret correctly what you have just said. As a composer, you tend to minimize the importance of the melodic material, ensuring that your structures can live independently from that material. As a composer for film, however, you recognize that melody has a function that cannot be discarded and therefore is important.
Morricone: Certainly the theme is extremely important, even if I personally have always considered it of little significance. For this reason, especially in the first films of Leone but also . . . on many other occasions afterward, I have attempted to distinguish it, to subtract it from its conventional function. In some cases I have augmented the result with timbre, in others with the pursuit of a theme made of intervals. I have had to concentrate on something that could redeem the low vulgarity of the theme . . .
**************
Here, he does seem to be lamenting the fact that he has to have a melody at all. So many of his melodies are to die for that it seems odd for him to say it's not important. For him, it seems that the real expression in the music lies in the musical structure and the instrumentation and that melody has little, if anything, to do with emotional expression. Unless I'm missing the mark here, which is entirely possible, that's what really strikes me as odd.
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Yeah but...
AM I in the bibliography (or, any FSMers?)
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