this is the official programme of the Accademia di Santa Cecilia...so it is as legit as it gets, but I don't regard it as written in stone, more as an orientation....of course things could change, but I hardly care, since what matters is hearing the Maestro conduct his music with a non pick-up orchestra, in a proper symphonic venue.
Vital contribution of photography, entrusted to Fabio Zamarion (de La sconosciuta and the best deals), which in the u.k. landscapes bruises, drizzly days and pearls, on asphalt, shines in the Interior now bruni now bluish delivery to film a dense and harmonious frame of suggestions. As well as essential, in some ways-and stylistically-even revolutionary than ever before, is the musical creativity of Ennio Morricone, away from the Symphonic Band and General maps, projected towards electric sounds, full of atmosphere, unprecedented daring even pinkfloydiane assistance to Visual pathways stellar scenario
Vital contribution of photography, entrusted to Fabio Zamarion (de La sconosciuta and the best deals), which in the u.k. landscapes bruises, drizzly days and pearls, on asphalt, shines in the Interior now bruni now bluish delivery to film a dense and harmonious frame of suggestions. As well as essential, in some ways-and stylistically-even revolutionary than ever before, is the musical creativity of Ennio Morricone, away from the Symphonic Band and General maps, projected towards electric sounds, full of atmosphere, unprecedented daring even pinkfloydiane assistance to Visual pathways stellar scenario.
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The err on the overabundance of this technological matching weigh down the plot of a story definitely unique and well written, but that tends to tangle over herself obsessively without leaving loopholes or ways out. Amy's obstinacy in pushing forward a communication with his interlocutor "special" becomes a genuine form of morbidity underlined by emphatic music of Morricone, fresh winner of Golden Globe for the movie by Tarantino.
This thread is inspiring me to listen to scores for Tornatore I don't know, including Baaria and The Best Offer. Baaria is good, but by all means get The best offer..it's just wonderful.
Thanks, I did just that. Found it at Amazon UK for $16 Great deal for an import to USA. And that's even though I'm really cutting back my purchases. See what you all did?
this is the official programme of the Accademia di Santa Cecilia...so it is as legit as it gets, but I don't regard it as written in stone, more as an orientation....of course things could change, but I hardly care, since what matters is hearing the Maestro conduct his music with a non pick-up orchestra, in a proper symphonic venue.
when i saw the maestro at santa cecilia, he did a question and answer session in the afternoon leading up to the concert. Was good but sadly all the questions were the usual wasted-opportunity fayre ("which is your favourite score?" "i have many children and i cant choose a favourite" etc etc). Shame they never asked me!! Ha ha Also we were lucky enough to get amii stewart in the concert instead of susanah rigacci as lead soprano so that was more interesting for me as ive seen rigacci about 4 times perform with Ennio. I left a letter for amii backstage asking for an interview and she very kindly telephoned me the next day but sadly it was after i was back in england. Lovely lady. She was up for an interview when i was next in Rome but havent been back.
I just listened to the samples and liked what I heard. I not really surprised since one reviewer compared the music with Pink Floyd. I´m no fan of Pink Floyd, but I think I know what the reviewer meant. It seems that the music we could hear in the backstage clip is a six minutes cue. I love that music and is a little worried about the duration(six minutes). Please don´t spoil that lovely music with some harsh music at the end or the beginning! There are several pieces that are rather long. I have no problem with this if the music is melodic all the way, but I don´t like when they integrate beautiful music with dissonant, suspense music.
This score is indeed lightyears from THE BEST OFFER. Yet it has some worthwhile moments on display, even though I at first wouldn’t describe it as a masterpiece. I especially like the passages where Morricone featured the E-guitar (the almost rock-sounding Improvvisazione in sol and Disperata chitarra in particular) and some dreamy and romantic passages such as La casa sul lago and Una luce spenta. However, the 2d cue lingers a bit too long for my taste, mostly repeating a ostinato over more than 13’ without reaching a climax! That one as well as La corrispondenza and Il cane simpatico I would almost describe as New Age-like. They failed to convince me, for a huge part due to the poor and naive synth sound. Another (small) disappointment regards both Stuntgirl and Corsa veloce that are much quieter than the titles would actually suggest. You otherwise are treated with the usual Morricone stuff for strings (Due camere in hotel, L’infinito spazio, etc) and with two reflective tracks for solo piano (the Bachian Una storia nella storia and Invenzione breve), courtesy of Gilda Butta, as seen in the short film shot during the recording sessions. The piano is by the way very much present throughout the whole score. All in all, we are dealing with a rather slow and peaceful score, undeniably pleasant to listen to but from which nothing really exceptional emerges. I guess it must be fitting that story pretty well though.
Bill, it is no surprise at all that the forthcoming Santa Cecilia concert won't include the Leone suite. In that place, Morricone is given the opportunity to share less conventional programs than in the jigs he uses to conduct in huge arenas such as O2, etc. Mind he once performed there a.o. pieces from KAROL, IL PAPA BUONO and even the action-packed Rock? from COME UN DELFINO!
This thread is inspiring me to listen to scores for Tornatore I don't know, including Baaria and The Best Offer. Baaria is good, but by all means get The best offer..it's just wonderful.
Thanks, I did just that. Found it at Amazon UK for $16 Great deal for an import to USA. And that's even though I'm really cutting back my purchases. See what you all did?
..oh , don't tell me..I know how that works! another great late Morricone-Tornatore is La Sconosciuta (this one is also a great movie , BTW)..totally different, totally stunning. Unfortunately, for some stupid reason that went OOP pretty soon, and now it's very hard to find for a fair price.
It seems I'm the only one here who didn't really like The Best Offer. The main theme was nice but Morricone had written many nicer themes in a similar style before. After the main theme, the rest of the album is mostly Morricone in tension mode which I don't particularly enjoy. I have listened that album several times but haven't managed to get to like it.
Judging by the samples only and the two minute clip posted a couple reply above, La corrispondenza seems to be a score I will enjoy much more. It sounds melodic, romantic, classical in style, not the tension-filled music that dominated The Best Offer. Just that two minute clip gave me the goosebumps so I'm very much looking forward to this album. On CD, of course.
Yes, it's also one of my favourite tracks and Mathias will no doubt like it a lot as well since it's definitely tuneful and romantic. The piano, the E-guitar, the solo violin and and the strings are absolutely magnificent. Another gorgeous love theme by the Maestro! This score indirectly provided me with the opportunity to listen again to LUCIA, also a very pleasant and romantic score.
Yes, it's also one of my favourite tracks and Mathias will no doubt like it a lot as well since it's definitely tuneful and romantic. The piano, the E-guitar, the solo violin and and the strings are absolutely magnificent. Another gorgeous love theme by the Maestro! This score indirectly provided me with the opportunity to listen again to LUCIA, also a very pleasant and romantic score.
I have listened to the score online a few times. I will wait for the cd for more listenings, but I can say that this is a score in my taste with not so much suspense music (I think I and Keky are rather alike in our taste) and more of romantic and emotional music. But one thing that I can say after very few listenings is that Ennio (and Tornatore) this time went for more atmosphere than melody. I can´t say that there are so many easy recognizable melodies in this score. In fact I don´t think I can remember any recurring melodies through the score.
There is a really, really beautiful melody in the first track La Casa Sul Lago. Unfortunately it appears only twice in that seven minutes piece. I would love some more repetitions in that piece and in the score as a whole. Lovely is also Due Camera In Hotel and of course Una Luce Spenta. The sound of the violin in Una Luce Spenta and Calco is wonderful. I also wonder about the lack of some music I have heard in clips. I don´t remember I heard this music in the score, at least not in these versions. https://www.youtube.com/watch?v=OBk1BBd4SAE https://www.youtube.com/watch?v=4qgDSgIggiA&list=PLMQr6ytoVqY67X1nouTuP9UuqC2Xe7rd0&index=5
I'm surprised the CD is still not listed on Amazon yet. The digital release has been on there a couple of weeks now and I'm tempted to download it, but I'd rather have the CD as I have all the other Tornatore scores on disc. I did download his other new score from Amazon (the French film which I can't remember the title of), so I'm making do with that one in the meantime
thank you James, very nice review. I tend to agree with your "like but don't love"assessment.. the score is classy and sophisticated and often there are even new-ish sounds..but it's way too sparse and unassuming for repeated listening. It works very well with the movie, though, and actually I'll venture to say it's the best thing about it. I saw it last week, and it's a crushing bore: concentrating on the music is the only thing that kept me awake. Lately Tornatore seems to have this obsession about this "love story with somebody you don't see" theme (The last Offer was the same), but this time he failed to translate this very (too?) personal theme in something universally relevant or even dramatically interesting. When I saw it the theatre was almost empty and by now the movie has all but disappeared from the Italian screens. Unexceptional as it is, the score is probably the only thing about it that will be remembered.
Thanks for the feedback, Hyperdanny. Very disappointing, indeed. I guess that despite having an international cast, the career of this movie will be short-lived also abroad. I'm afraid that LA CORRISPONDENZA won't even be shown in the French theaters for instance, like happened already with previous other Tornatore movies such as LA SCONOSCIUTA. The movie (and therefore maybe its score) is anyway a contender for the David di Donatello ceremony:
