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 Posted:   Jan 10, 2011 - 5:08 PM   
 By:   wayoutwest   (Member)

Whoops! I made a mistake there...
The music I'm referring to starts to play at 10:10 in the first clip and at 13:03 in the second clip.


Thanks I really need to get around to buying that FSM disc. wink

 
 
 Posted:   Jan 11, 2011 - 11:25 AM   
 By:   Dan Azevedo   (Member)

Hello again, wayoutwest! I'm glad you enjoyed my suggestion. I went back to your post mentioning "bleakness plus beauty" and here are a few more titles I came up with:

LA SCORTA
CROSSING THE LINE
IL LUNGO SILENZIO
LA SINDROME DI STENDHAL
IL GIORNO PRIMA
A TIME TO DIE

Some of these mix a little crime with the drama ("La Scorta", "Il Lungo Silenzio"), but definitely delve into darker sonorities. "Il Giorno Prima" is mostly bleak with a fantastic choral piece. Again, I have to confess that I am not a big fan of this side of Morricone as a standalone listen, even though the scores work wonders within their respective films. I must say that my own favorite from that list has got to be "La Sindrome di Stendhal". While the film is risible (who greenlighted that atrocious blonde wig for Asia?), the score is like a nightmare without end. Pitch black and despairing, monothematic, with a hellish lullaby that is just the opposite of the comforting lullaby from the climax of "The Untouchables". It is a difficult score to get into, but once it gets its hook into you, it never lets go. Try to check it out. Avoid the film at all cost, though, for it is a major waste of time.

 
 
 Posted:   Jan 11, 2011 - 12:02 PM   
 By:   Peter Greenhill   (Member)

Some nice Ennio suggestions here. Thanks guys!

 
 
 Posted:   Jan 11, 2011 - 12:08 PM   
 By:   Morricone   (Member)

Some nice Ennio suggestions here. Thanks guys!

I think I created a monster. Thanks Peter but really 11 or 12 would have been good enough.

But I love ya for it.

 
 Posted:   Jan 11, 2011 - 4:15 PM   
 By:   wayoutwest   (Member)

Hello again, wayoutwest! I'm glad you enjoyed my suggestion. I went back to your post mentioning "bleakness plus beauty" and here are a few more titles I came up with:

LA SCORTA
CROSSING THE LINE
IL LUNGO SILENZIO
LA SINDROME DI STENDHAL
IL GIORNO PRIMA
A TIME TO DIE

Some of these mix a little crime with the drama ("La Scorta", "Il Lungo Silenzio"), but definitely delve into darker sonorities. "Il Giorno Prima" is mostly bleak with a fantastic choral piece. Again, I have to confess that I am not a big fan of this side of Morricone as a standalone listen, even though the scores work wonders within their respective films. I must say that my own favorite from that list has got to be "La Sindrome di Stendhal". While the film is risible (who greenlighted that atrocious blonde wig for Asia?), the score is like a nightmare without end. Pitch black and despairing, monothematic, with a hellish lullaby that is just the opposite of the comforting lullaby from the climax of "The Untouchables". It is a difficult score to get into, but once it gets its hook into you, it never lets go. Try to check it out. Avoid the film at all cost, though, for it is a major waste of time.


Wow thanks another list for me thanks Dan
"The score is like a nightmare without end" sounds good to me I had hoped to find another score where the whole thing is down beat and filled with hopelessness the whole way through,the feeling gets lost quickly if it is only a track here and there,still I'd love to explore them all but that score sounds like the trip for me.

 
 Posted:   Feb 19, 2011 - 1:51 AM   
 By:   wayoutwest   (Member)

Hello again, wayoutwest! I'm glad you enjoyed my suggestion. I went back to your post mentioning "bleakness plus beauty" and here are a few more titles I came up with:

LA SCORTA
CROSSING THE LINE
IL LUNGO SILENZIO
LA SINDROME DI STENDHAL
IL GIORNO PRIMA
A TIME TO DIE

Some of these mix a little crime with the drama ("La Scorta", "Il Lungo Silenzio"), but definitely delve into darker sonorities. "Il Giorno Prima" is mostly bleak with a fantastic choral piece. Again, I have to confess that I am not a big fan of this side of Morricone as a standalone listen, even though the scores work wonders within their respective films. I must say that my own favorite from that list has got to be "La Sindrome di Stendhal". While the film is risible (who greenlighted that atrocious blonde wig for Asia?), the score is like a nightmare without end. Pitch black and despairing, monothematic, with a hellish lullaby that is just the opposite of the comforting lullaby from the climax of "The Untouchables". It is a difficult score to get into, but once it gets its hook into you, it never lets go. Try to check it out. Avoid the film at all cost, though, for it is a major waste of time.



Have picked up LA SINDROME DI STENDHAL many many thanks Dan for mentioning that one it was love at first listen for me. wink

 
 Posted:   Jul 22, 2020 - 5:22 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

Having suffered a bad case of fado in Portuguese restaurants on holiday in Algarve a few times (it wouldn't have helped Tuco's digestion!) - i was not a convert. I hadnt seen this film nor got the score so when i saw Morricone perform this in London with Dulce Pontes i thought it was a bit heavy, to say the least. It did however show that the Maestro never ceased trying new styles, if it fitted the film.

Post-concert a lot of fans were raving about Pontes and the Sostiene Pereira music, so i figured i was missing something.

I listened again to Henry's clip - and a couple of other cues. Long ago i realised Ennio's stuff is what Ennio says - "My music gets quickly to the brain" - and other stuff is sneakier, its a slow-burn, and it creeps up on you like a vampire in mist form without you realising. A Brisa Do Cora├žio (La Brezza Del Cuore) is one of those. First of all i found the singing a bit distracting, but Ennio is a cunning songwriter, as we know, and he slides in so many layers and lines.

What i loved straight away was that little 4-note flute burst which begins this song and then repeats throughout - crazy as it may seem, i found myself following not the song but the flute burst and waiting for them, but yet still appreciating the song in its whole. I think this element of Morricone's music lies somewhere in the analogy of what Henry observed about the mathematics and the chess, the cadence, the tempos, and particularly knowing exactly where to slot in a sound and how often, kind of like the pace of a chess game and when and where to probe and attack. I havent expressed that very well and it reads back like bollocks but i hope someone gets what i mean.

In short, i shall be looking into obtaining this score. I have been won over.

 
 Posted:   Jul 22, 2020 - 5:31 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

And here is an instrumental version. Guitar begins very much in Malena mode. But i think this is great.



 
 
 Posted:   Jul 22, 2020 - 6:39 AM   
 By:   Prince Damian   (Member)

Just one thing Bill, it's 'Dulce' . You must have been thinking of ' Gabbana! big grin

 
 Posted:   Jul 22, 2020 - 6:41 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

Good point. Edited.
Actually yes i was wearing my Dulce and Gabbana leather coat thismorning - no wonder i was singing fado in the shops!! smile

 
 Posted:   Jul 22, 2020 - 6:53 AM   
 By:   Totoro   (Member)

This series is inspired by a controversy thread where someone posited the idea that besides THE MISSION and some Sergio Leone westerns Ennio Morricone hasn't written anything great.

People who say this kind of thing are just stupid and/or ignorant.

 
 
 Posted:   Jul 22, 2020 - 7:00 AM   
 By:   Prince Damian   (Member)

Good point. Edited.
Actually yes i was wearing my Dulce and Gabbana leather coat thismorning - no wonder i was singing fado in the shops!! smile


At least you didn't put dulce and bannana.

 
 
 Posted:   Jul 22, 2020 - 7:03 AM   
 By:   Prince Damian   (Member)

This series is inspired by a controversy thread where someone posited the idea that besides THE MISSION and some Sergio Leone westerns Ennio Morricone hasn't written anything great.

People who say this kind of thing are just stupid and/or ignorant.


Your could look at it another way. In that he never lowered his standards to compose merely great music.

 
 Posted:   Dec 8, 2020 - 10:32 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

I thought id bump Henry's thread given Caldera's new release.

For more information and sound clips please visit:
www.caldera-records.com/portfolio/sostiene-pereira/

 
 
 Posted:   Dec 8, 2020 - 11:50 AM   
 By:   Thor   (Member)

For some reason, I didn't listen to this when I had my huge Morricone listen-through (and acquisition explosion) a few weeks back. But listening to the Caldera now, it's quite lovely. I had expected something more abrasive and weird from the comments, but it's fairly consonant throughout.

 
 
 Posted:   Dec 9, 2020 - 1:21 AM   
 By:   Dorian   (Member)

This is a score I was hoping to see reissued for a long time. The cover and the packaging looks fantastic.

The track listing seems to be one track ("Clandestino" 2:07) shorter than the old release, was it omitted purposedly?

 
 Posted:   Dec 9, 2020 - 2:01 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

See the caldera release thread Dorian, they explain that track wasnt available to them.

 
 
 Posted:   Dec 9, 2020 - 2:03 AM   
 By:   Dorian   (Member)

See the caldera release thread Dorian, they explain that track wasnt available to them.

Thank you for the info!

 
 
 Posted:   Dec 9, 2020 - 4:15 AM   
 By:   Laurent78   (Member)

I must say I really hold this CD as a lost opportunity to expand this score on the contrary. When I saw the movie at the time of its theatrical release, I noticed the genuine opening title was absent from the CD (we have a variation of it on a different tempo). To add this traditional-flavoured tune would also have brought more diversity to the whole contents based mostly on the song and its instrumental renditions. And I have a hard time believing that the session tapes of a score from 1995 can't be located. It ain't DIABOLIK or LABBRA DI LURIDO BLU! So I must say that this release is in the end rather puzzling to me.

 
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