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Posted: |
Oct 14, 2024 - 5:47 AM
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By: |
Thor
(Member)
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IL QUARTO RE is an obscure, biblical fantasy-type TV movie from 1997, about a beekeeper whose magical bees form the comet that the three wise men use to track down the Messiah, with friggin' Billy Dee Williams, Lando himself, as Gaspar. Or some such thing. Sounds wonky.
I love the score, though, and again this has no previous thread on FSM that I could find. I have a penchant for religioso choral music, and this has plenty of that, but it's counterpointed by static, breathing suspense tracks and middle eastern harmonies. Dissonant, but not so much as to alienate my feeble mind. Well worth a shot! (son Andrea is credited too, although I don't know what he did).
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It's another of his scores that loosely drops into the Mission/casa bruciata/papa buono category - church organ, religious choral, slow strings - it was a style he did seemingly effortlessly but I bet it wasn't with all the elements. I do like the main theme Exultat a lot.
If you're gonna do these Thor, a kind of mini series, no harm in dropping in a couple of youtube vids, to widen horizons!
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Posted: |
Oct 15, 2024 - 12:01 AM
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By: |
Roy Donga
(Member)
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There’s an interview in the booklet. Apologies for any errors,I’ve used Google translate…
Interview with composers Ennio and Andrea Morricone
"The great autonomy that music has in The Fourth King with respect to the images and, above all, to the use that is normally made of it in 'fiction'”says Ennio Morricone “represents the fundamental character of this soundtrack. The musical commentary, that is, wants to present, with respect to the images, that sense of desire for fairy-tale abstraction, necessary for a sublime story like this, based on the story of the Three Wise Men in search of Jesus' cave. In this sense, the strong participation of the choir also helps and underlines this necessity."
"The birth and the path of the compositional inspiration” - intervenes Andrea Morricone who, in addition to the 'soundtrack' written together with his father, took care of the direction of the orchestra - developed in collaboration with the director. Stefano Reali in fact had in mind for his film a music that, in a certain sense, 'transcended' the images. Once this point was clarified, my father and I worked in a simple and clear way, proposing the themes, working on the scores and adding the colors of the orchestra."
"It's the first time I've worked alongside a director who is also a composer," Ennio continues, speaking of Stefano Reali. "This 'union' could have lengthened the time it takes to complete our work, in the sense that, potentially, the director-musician is a figure who tends to have 'his' own musical vision of the film. With Stefano, on the other hand, we collaborated without problems, to the point that it was crucial when it came to blending the fundamental elements, music and images, also receiving, on his part, an enhancement of the musical material already acquired.
The main themes of the column are four: 'Exultat', 'Il Quarto Re', 'Con giola serena' and 'Tensione a Oriente', composed by four hands, but whose creation was equally divided between the two composers.
"If I had to choose a piece," adds Andrea, "I would underline 'Exultat, Trove, in this composition, interesting solutions from a harmonic and formal point of view for an accumulation of orchestral material. These elements certainly make it a piece of a certain originality from the point of view of the general form."
A further element is represented by the presence, sound commentary, from the Passacaglia, and the reiteration of a theme that ends up constituting the impetus of the music by the composers.
"The 'Passacaglia - explains Ennio Morricone - must usually be a short and synthetic theme. In 'Exitat we find a distant example of this, but in an elongated form. Typically this difference is resolved by implementing a kind of harmonic path led by a melodic line, composed of values of 'fourths and 'somímínimés
"In this soundtrack - concludes Andrea - strictly linked to a traditional instrumental context, with the presence of a choir, we have used some different colors, impressed by a use of electronics."
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Somewhere around - Laurent will remember - an explanation from Andrea as to how their collaboration projects worked and I'm pretty sure he confirmed they worked on separate pieces, never on the same composition. (This does not mean going to two darkened rooms and meeting up afterwards, obviously there is communication and ideas).
But, of course, in time things change and a quote that's true one year maybe not strictly true a few years later.
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