for movie soundtrack enthusiasts and music aficionados, a collection of rare, hard to find, out of print, lost, forgotten and classic movie soundtracks...enjoy!
Showing posts with label Ennio Morricone. Show all posts
Showing posts with label Ennio Morricone. Show all posts
Tracklist A Fistful Of Dollars A1 A Fistful Of Dollars A2 Almost Dead A3 The Chase A4 The Result A5 Without Pity A6 Titoli For A Few Dollars More B1 Sixty Seconds To What? B2 The Watcher Watched B3 Vice Of Killing B4 The Showdown B5 Goodbye Colonel B6 For A Few Dollars More
In this movie, a young Hungarian Jew, 14-year-old György Köves (Marcelle Nagy) gets sent off to the camps during the Holocaust. His story is told in such a matter-of-fact way, yet the horrors of his experiences in the camp is credibly portrayed, and has the power to affect viewers. Young György's story is a coming-of-age tale, of a boy who becomes a man during one of the bleakest periods in history. The movie captures the beauty of life amidst horrors, and the power of human endurance.
The movie's soundtrack, composed by Ennio Morricone, is haunting and you can feel yourself being transported to some other plane of existence. The pain and suffering, the beauty, the horror, all of these emotions are felt deeply. Morricone uses the full orchestra - both Morricone and Kalman Strausz conduct the Hungarian Radio Symphony Orchestra and the soloists used are Ludovico Fulci and Lisa Gerrard.
Tracklist 01 Fateless 3:08 02 Return To Life 5:57 03 The Field 3:30 04 Home Again 1:50 05 The Beginning Of The Tragedy 4:01 06 A Song 1:55 07 At The Table 2:44 08 Psychological Destruction 2:00 09 About Solitude 1:34 10 To Return And Remember 1:54 11 A Voice From The Inside 3:35 12 A Mirror 0:47 13 About Solitude II 2:41 14 Voiceless 1:54 15 Fateless II 4:35
One of the all-time great Western scores, restored to its original length-that means an additional 10 tracks! A spaghetti-flavored treat for soundtrack collectors! The concluding chapter of director Sergio Leone's epochal Man With No Name trilogy ushered film scorer Ennio Morricone into the pop mainstream courtesy of a hit cover of its main title by American Hugo Montenegro. More importantly, it both showcased the composer's spectacularly inventive range and set him up for even greater triumphs to come with Leone and others. But aficionados of il Maestro Morricone's G,B&U soundtrack knew its original editions contained but the main thematic/musical elements of the spaghetti western epic -- until now. The addition of ten previously unissued cues on this newly remastered edition render the landmark score in its full glory, nearly doubling its running time in the bargain. While some of these new elements are but spare, haunting reworkings of familiar motifs (including Allessandro Allessandroni's trademark guitar riffs and the chilling vocal shrieks the composer used to evoke the howling of coyotes) that help expand its emotional dynamic, others like "Sentenza," "La Missione San Antonio" (a haunting instrumental version of "A Soldier's Story" that effectively presages his elegiac Once Upon A Time in The West and "Il Bandito Monco" significantly add to its expansive scope, firmly restating its claim as Morricone's first true classic. -- Jerry McCulley (Amazon.com)
Ennio Morricone’s score for the 1994 Mike Nichols movie starring Jack Nicholson and Michelle Pfeiffer is rather underrated. He doesn’t do a lot of horror scores for Hollywood – you have to go back to John Carpenter’s The Thing (1982) for a memorable one. Here in Wolf he channels a jazzynoir-ish style mixed with orchestral strings and electronic synths. The result is not quite spectacular, but interesting enough for fans of Morricone. It is a score that grows on you, centering less on clear, discernible melodies; instead the music is more atonal and atmospheric, but with structural cues to guide the listener.
Basil Poledouris' musical rendition for Victor Hugo's "Les Miserables" is, quite simply, epic. From the prison quarries to Paris, from the struggle between mercy and justice (Val Jean and Javert), to tenderness and battle (Cosette and the ABC Club), Poledouris has captured it all. The main theme evokes images not only the policeman on the hunt, but the students on the barricade - in one spectacular brass arrangement. A particular favourite is the beginning of track three, where the simplicity of Val Jean and Cosette's relationship (in a delicate flute) is suddenly contrasted with the bustle of the Parisian streets (in bubbling woodwinds and strings). Poledouris has outdone himself with this composition. His music evokes the crystal style of Ennio Morricone and the cinematic majesty of John Williams. It reflects a conversion from light to dark and completes the painting that is the film. In his composition we hear the brooding of Javert's soul, the love and compassion of Valjean. True to the literary work, both the score and the film focus their attention on the conflict between the redeemed Valjean and the obsessed Javert. The score is insightful on a personal level, allowing the listener the realization that darkness exists in all of us, but that darkness is merely the absense of light, the light of human compassion and love. Superb on a technical level, creatively beautiful, this score makes a fine addition to any personal music library, classical or otherwise. 1. Suite 1, Valjean's Journey: Theme From Les Miserables/The Bishop/Javert/The Quarry 2. Suite 2, Vigau: Javert Suspects/Caring For Fantine/Valjean's Confession/The Death Of Fantine... 3. Suite 3, Paris: Valjean & Cosette/The Wall/Outside/Marius & Cosette/Valjean Remembers 4. Suite 4, The Barricades: Funeral Attack/Valjean Saves Marius/Farewell/Javert's Suicide click here for more information
Depending on your viewpoint, director Brian De Palma has been frequently lauded/taken to task for liberally appropriating the stylistic flourishes of other directors. And if De Palma's biggest "inspiration" on Snake Eyes is Alfred Hitchcock, the director found an admirable, if unlikely, semblance of frequent Hitchcock collaborator Bernard Herrmann in Ryuichi Sakamoto. Though better known for more delicate, electronic, and ethnically tinged work, here Sakamoto does a truly amazing Herrmann impression, cranking up the brass and swirling the strings into an unsettling sonic maelstrom that would've done late '50s Hitch proud. Snake Eyes instantly begins with an awesome theme played out on lush violins. It echoes Bernard Herrmann classic scores to Hitchcock movies. Usually when a score imitates another movie it doesn't stand on its own. But the Snakes Eyes score manages to come into its own and still be original. Sakamoto's score ends with the beautiful 'Snake Eyes-Long Version'. It's a shame that this came out in the modern day. If this score accompanied a classic movie it would have been well-remembered. It is an alternately fun and lush score to De Palma's underrated and visually stunning film. Sakamoto's haunting theme (best on extended track 11) is a loving tribute to Morricone and Herrmann and the cheesy '70s gangster film thrill/scare cuts are a treat. Also includes 2 vocal tracks by Meredith Brooks and LaKiesha Berri. 1. Snake Eyes 2. Assassination 3. The Hunt 4. Julia's Story #1 5. Tyler And Serena 6. Kevin Cleans Up 7. You Know Him 8. Blood On The Medals 9. Crawling To Julia 10. The Storm 11. Snake Eyes(Long Version) 12. Sin City - Meredith Brooks 13. The Freaky Things - LaKiesha Berri
This 1988 classic from director Guiseppe Tornatore is certainly one of the greatest movies about movies ever made, and features a rich score by Ennio Morricone.
The initial effort in what's become an ongoing collaboration between filmmaker Giuseppe Tornatore and composer Ennio Morricone (in this instance assisted by his son Andrea) remains one of the Italian musician's most internationally beloved works. The bittersweet tale of a young boy's friendship with the local cinema projectionist and the profound, almost magical influence the movies have on both their lives won the Grand Jury Prize at Cannes and the Best Foreign Film Oscar, and netted Morricone a BAFTA (U.K. equivalent of the Oscar) for Best Score. In the late '90s, the music also received one of America's other great "honors"--it was adapted for a car commercial! The score is among Morricone's most elegant and memorably melodic, effectively evoking a rich cinematic legacy; it's a virtual musical love letter to the power of films and their music. --Jerry McCulley (Amazon review)
This is the limited edition soundtrack version with bonus track
1. Cinema Paradiso
2. Maturity
3. While Thinking About Her Again
4. Childhood And Manhood
5. Cinema On Fire
6. Love Theme
7. After The Destruction
8. First Youth
9. Love Theme For Nata
10. Visit To The Cinema
11. Four Interludes
12. Runaway, Search And Return
13. Project For Two
14. From American Sex Appeal To The First Fellini
15. Toto And Alfredo
16. For Elena
17. Cinema Paradiso (bonus track..String Version)
