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If pressed, I prefer Morricone to Tiomkin, and Mozart to Saint-Saens and Tchaikovsky, though I enjoy music by all of them.
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Duello nel Texas (Morricone's first Western score, perhaps his most "classic" Western score, the one Morricone score where the American Western music influence, particularly Tiomkin, is more pronounced than in most of is later western.
Even as someone who's not a big Tiomkin fan, I have long thought that Morricone's iconic solo trumpet writing in stuff like the finale of The Good, The Bad, and the Ugly was *strongly* influenced by Tiomkin's trumpet writing from The Alamo (one of the Tiomkin scores I do enjoy).
Yavar
Yav, its well documented but Ennio was forced to come up with a copy of the deguello for Fistful of Dollars gunfight duel when Leone insisted, this then became the template for nearly all italian westerns, particularly Leone's sequels. Henry (morricone) and Ray talk about this in-depth in the Investigation of a citizen thread.
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Ah, intersting. I missed that discussion but glad the influence has been openly acknowledged.
Of course Tiomkin himself no doubt was heavily influenced by other pre-existing music. Those trumpet bits throughout The Alamo don't strike me as "pure Tiomkin"...I don't hear his musical voice in them, anyway.
Yavar
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The point is that Morricone wasn't influenced by Tiomkin. Leone had a vision of how he wanted the music in A Fistful Of Dollars to sound and Ennio complied and of course it resulted in a highly successful musical formula
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Has anyone got access to Jon Burlingame's liner notes to this yet? Many of us who were there in the 70s were perplexed by the Musical Supervision credit to Stanley Wilson on this movie, which led to many mad nonsensical theories about Two Mules being recorded in the U.S.A, Stanley Wilson conducting instead of Nicolai etc etc.
One hundred per cent this score was recorded in Rome with Ennio's usual performers, especially Bruno D'Amario on guitar and Cantori Moderni choir, - you can even hear edda and gianna as choirgirls, so the smart money is that Wilson acted either as a music editor in the U.S when the score arrived, or Wilson came to Rome for the recording sessions so he knew what was what when he went back with the tapes. Given this was 1969 and travel wasnt as easy as it is now, its quite likely he simply handled the score at the U.S end. I just wondered if with access to tapes and stuff whether such details can finally be confirmed and put to bed for certain.
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Perhaps the liner notes will clear this up, zardoz.
You may be right. Often such ambiguous credits muddy the waters and create confusion, when often they are just a way around a rule. In this case, perhaps we will find out.
Ps rojo may have been me. Arch Stanton was taken. 
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Good stuff, Ray. I had long ago given up trying to nail down what non-english speaking Italians were singing in english or italian, let alone what it was in Latin! I just accepted it as ingenious sounds and tones! Clearly it was Latin text in this case but hadnt a clue what. So well done for clearing it up, nice nugget.
And what news of Mr Wilson's role? Sent to Rome for the recording to act as a kind of courier for the tapes and then music editor back in U.S? The credits do not list a music editor, only his as music supervisor, which would make sense.
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Posted: |
Jul 22, 2020 - 5:07 AM
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By: |
Ray Worley
(Member)
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Good stuff, Ray. I had long ago given up trying to nail down what non-english speaking Italians were singing in english or italian, let alone what it was in Latin! I just accepted it as ingenious sounds and tones! Clearly it was Latin text in this case but hadnt a clue what. So well done for clearing it up, nice nugget.
And what news of Mr Wilson's role? Sent to Rome for the recording to act as a kind of courier for the tapes and then music editor back in U.S? The credits do not list a music editor, only his as music supervisor, which would make sense.
Thanks, Bill.
Re: Stanley Wilson, the notes don't give a definitive answer, only this: "Universal music executive Stanley Wilson, who is prominently credited with 'music supervision' and in all likelihood went to Rome as studio representative during the scoring."
I'd like to know what the story is for the "Battle" cue. It's years since I watched the film, but I seem to recall that it just covers a bunch of people plodding up the stairs of a church tower. I wonder if it was stuck on there by Wilson for want of anywhere better. It must be one of Morricone's most kick-ass orchestral pieces.
The liner notes don't offer a track by track analysis, but here is my take on it. I agree, it's a vigorous piece. Which is exactly why is it was used at this point in the film. It works perfectly to add excitement and forward momentum to what is otherwise a "plodding" slow scene...just a bunch of people going up stairs, down cloisters, and across roofs. It seems to fit too well to have been just "stuck" there as the scene is music-less when Sara, Hogan, and Col. Beltran enter the church and first start heading through it. The music starts suddenly when lines of men hidden along the cloisters are revealed and begin moving up the stairs, then builds in intensity as they finally make it to the roof and approach the full view of the garrison below.
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Thanks Ray. Jon's version sounds pretty accurate and logical.
The beat of that theme you and Les are discussing sure does sound like it was written for the pace of the running/fast walking men, doesnt it, so i think it was very likely written for that scene in mind.
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I ordered it with the Williams Disaster and Voyage to the Bottom of the Sea sets...I think my shipment is due to arrive this Friday.
Yavar
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] 
