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Author Topic: A Morricone song  (Read 8582 times)
The Firecracker
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« Reply #15 on: July 26, 2006, 11:10:50 PM »

anybody got Morricone's "Malamondo"? Great album.

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titoli
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« Reply #16 on: July 27, 2006, 04:04:01 AM »

I'll try to come up with Morricone's arrangements if I spot them on youtube. That is a side little known abroad of his activity in the '60's, though in Italy is history.

Here's another masterpiece (though, unfortunately, incomplete: the intro was one of the best thing in the arrangement. Tenor sax solo courtesy of Gato Barbieri). (1963):

http://www.youtube.com/watch?v=HwwclipeKGc&search=sapore%20di%20sale

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archangel
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« Reply #17 on: July 28, 2006, 10:48:21 PM »

have listened to most of the morricone clips on youtube.

can't say i'm very impressed at all.

the orchestras seem to be badly balanced and half asleep.

maybe morricone needs the money?

the originals are far superior.

it all seems underrehearsed and non committed.

if i had the same opportunity, i would have fired most of the players.

this is not " in my humble opinion" as is were.

these are facts.


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titoli
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« Reply #18 on: July 28, 2006, 11:02:17 PM »

Which "Morricone clips" are you talking about?

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archangel
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« Reply #19 on: July 29, 2006, 12:39:23 AM »

titoli, they are on youtube, just dial up morricone in their search engine.

most are very recent, 2005.

the one that would be glaring to a non muso would be the version of the ectasy of gold. the soprano (red dress) is woeful (she'd be the first one i'd fire) - out of time and obviously under rehearsed. She is no Edda Dell Orso. plus, the tempo is very draggy, as sure indication of lack of rehearsal.

the lack of quality here could be the reason morricone cancelled some concerts this year. underfunding = no rehearsal time = damaged reputation.

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titoli
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« Reply #20 on: July 29, 2006, 02:31:04 AM »

I presume you're referring to the Arena di Verona dvd concert: I agree with you. But that the originals are going to be better than this live renditions is only to be expected. 
The musicians are picked one by one by the Maestro and they are the best around (some are regular La Scala musicians. First horn player did the military stint in the same corp - the Army Band, what you think ?- as me: he was leaving when I was starting).
I am not sure that it is the little time for rehearsal the problem: apart from the Edda substitute (who is not up to par: it disturbs me the way she glisses over the agilità part in Exstasy) they wouldn't need too much time to give a decent rendition of not too overcomplicated pieces.
If Morricone is doing it at all is because he wants to do it and believes in it. I would like to ask him: but why doing it at all? Are the concerto renditions of the pieces going to add something missing in the original? For a virtuoso of the orchestration like him, to substitute some distinctive instrumental parts like those of GBU or Indagine is the equivalent of raping what he himself did in the past, which was carefully planned also for the recording stage. 

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archangel
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« Reply #21 on: July 29, 2006, 02:48:29 AM »

everyone needs money, ennio is no exception.

yes, they contribute little to the illumination of these works.

the originals has passion, they jumped out of the speakers at you.

moverover they had "feel". maybe a lot of the original players are dead.

the trumpeter in the "trio" and "GBU main title" was hot!! and i doubt if some of the fast flurries of notes were even written out.

i'd rather see morricone do really something new that is more unified - instead of "debunking" his own earlier work. something that suit an orchestra more.
i have a video of a danish pop orchestra recorded at some amphitheater in athens that completely creams this stuff. ennio is not is sight, but the lady who sings jill's america from OOTITW is as good as edda. in fact the whole concert revolves around tv and movie themes. i think the conducters last name is bakker. this, is a much better orchestra, based on the material at hand.

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titoli
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« Reply #22 on: July 29, 2006, 06:47:10 AM »

I don't think it's the money.

If you (or other posters) have more precise indications on that danish recording please post them.




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archangel
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« Reply #23 on: July 29, 2006, 07:01:32 AM »

Arthouse Cafe vols 1-2-3. Dick Bakker conductor (cds). will checkout more and get back to you.

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archangel
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« Reply #24 on: July 29, 2006, 07:21:06 AM »

this is definitely the one: Dick Bakker and the  Netherlands Metropole Orchestra.
have no clue as to whether the said video is available.

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titoli
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« Reply #25 on: July 29, 2006, 09:26:25 AM »

Thanx.

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titoli
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« Reply #26 on: August 03, 2006, 07:03:43 PM »

Have checked the videos and, of course, they're not the Arena concert but another in Munich.So what archangel says about underrehearsing may be true.
But my curiosity is to know what the Maestro finds constantly to read in his own score.

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archangel
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« Reply #27 on: August 04, 2006, 09:49:53 PM »

hi titoli. being a composer myself, i can understand the reading. basically if you write something at a certain time, it's likely that you will forget the details as you go one to other projects. 40years is a long time to a creator. the score cue you to remember entry point and such for the differing sections of a work.
this is why i maintain that these concerts are below par. he didn't rehearse the songs. couldn't have had the time/money. also, the orchestra would have not remembered anything of the pieces - that is the nature of music readers. they read - but very rarely interperate. a true artist, such as mina mazzini or dion or streisand actually learn the work before performing it - they know it. whereas to members of most orchestras - their strength is in their reading ability and to them, reading a score is about the same level os reading the daily newspaper.
that is way the original soundtracks in leone's SW's are so good. they used performers that lived the parts - they have soul : life, and always will.
this is the exact opposite to the videos in question, which have no life, and are dead before they start.  believe me, my friend, i know this to be true.

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archangel
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« Reply #28 on: August 04, 2006, 09:54:28 PM »

sorry for the typos, my mac keyboard needs replacing.

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titoli
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« Reply #29 on: August 04, 2006, 10:29:21 PM »

Well, I'm no composer but I can't believe that Morricone (who, it is a known fact, has a kind of computer in his head) can't remember what he wrote unless I were to assume that he's well deep in his senescence phase. Actually, I'm willing to bet that at any time he could rewrite note for note starting from bottom whatever he did in the past.  And even assuming he doesn't remember, after so many years of performing those same songs (which, as richly textured as they are, do not certainly compare with what he composed in what he calls "musica totale" field) he should have them at his fingers. And GBU theme  or Extasy of Gold at that! How long would it take to you to memorize them? The fact is that I firmly refuse to believe that he needs the score at all. What  I (ironically) implied by my observation is that he probably perused the score only for a visual effect, trying to put through to the lay viewer that this is a concert of "serious" music which needs score and all.  It is the same effect that you see in many films where singers who are notably incapable of reading a note have a kind of prop from which they pretend to read something they don't need anyway because they must already know the song.   

And, sorry, but to put Dion (I presume you mean Celine, not the male singer of the Belmonts)  in the same breath as Mina (no need for Mazzini: nobody in Italy calls her with the family name) and Streisand is an abuse.

« Last Edit: August 04, 2006, 10:37:09 PM by titoli » Logged

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