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I love almost every score by Morricone; yet Burn does nothing for me. Find it really annoying. Thanks for posting this one. Alex
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I'll chime in quickly just to say I've always loved this score. First the abbreviated Vivimusic then the GDM which was allowed to breath and develope more. I love Ennio's scores that incorperate the kind of percussion (bongos?) found here, The Island, Oceano, etc. It's such a mellow and comforting sound. And I also adore "Abolição". It really builds into something powerful (I also agree "Israel" has the edge on it though).
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be nice if this and other lp's originally issued by UA (ALGIERS etc) were released on domestic cd labels.aa
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Posted: |
Jan 8, 2011 - 8:28 AM
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By: |
ToneRow
(Member)
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Morricone used this form of music twice before BURN! in L'UOMO E LA MAGIA and THE YEAR OF THE CANNIBALS. A refrain that keeps going in an ever spiraling fashion. Is there a musical term for this? I've only seen BURN! once about 20 years ago, and never collected any of these soundtracks you are referring to. Even though I don't know what these sound like, there can be a number of descriptions regarding musical forms which repeat: Theme And Variations - wherein a single theme is altered in harmonic counterpoint, rhythm, timbre and/or orchestrations with each repetition of the main theme. Passacaglia - and old form (cir. 1700) which repeats its main theme like above, but with bass/beat remaining unswervingly consistent throughout. Chaconne - a relative of the Passacaglia, only with shorter harmonic progressions and rapid repetitive bass-lines. Perpetuum Mobile - a body of music in which one piece is played repeatedly uncountable times, with the music seemingly moving onwards into infinity without change. Minimalist composers tend to gravitate towards the Perpetuum Mobile (Arvo Part used this as the title of one of his works). After listening to a number of Ennio Morricone soundtracks, I can take an educated guess and say Morricone would use the Passacaglia (knowing his penchant for insistent rhythms and repetitions of themes). Jerry Goldsmith claimed to have used the Passacaglia very rarely, in his liner notes to THE BLUE MAX soundtrack album. Theme And Variations overall remain in concert repertoire, such examples being Ralph Vaughan Williams' Fantasia on a Theme by Thomas Tallis, and Benjamin Britten's Variations on a Theme by Frank Bridge, and so forth...
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that quote is from the documentary on Ennio iirc (i reviewed the dvd in FSM)
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