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YO-YO
MA PLAYS ENNIO MORRICONE
Stunning compilation:
the way these things should be done
A review by JAMES SOUTHALL
Film music compilations are ten-a-penny
these days, with most anyone going off to Eastern
Europe to record essential new versions of the themes
from Lord of the Rings and Gladiator for the mass
market. Of course, these are of little or no use to
the devoted film music lover and, while they probably
suit the casual fan just fine (and no doubt sell in
vastly higher numbers than most actual original score
albums) they have the unfortunate effect of painting
a fairly gloomy picture of film music to the more,
shall we say "musically mature" listener.
Sometimes, though, the best composers revisit some
of their previous music and bring us new versions
which are presented in a new and interesting format.
This happens unfortunately rarely, but in recent years
the composer doing it most impressively has been Ennio
Morricone. He's certainly got enough back catalogue
to choose from (and is the one film composer above
all others for whom "sampler albums" would
be very useful indeed) and over the last couple of
years the three albums three simply stunning Morricone
compilation albums have been released, stunning not
only because the music is so good (that is a given)
but because he has arranged it in such a striking
manner. "Cinema Concerto" was a good sampler
of some of the composer's most familiar themes in
his reorchestrated concert arrangements; "Music
for Film" was a sublime collection of his themes
rearranged for piano, viola, violin and flute; and
"Arena Concerto" a good followup to "Cinema
Concerto".
Now a fourth essential Morricone compilation
has been released. "Yo-Yo Ma Plays Ennio Morricone"
does what its title implies, but the composer has
given us a real treat by offering sometimes significantly-altered
versions of his music arranged especially for Ma and
his cello, all the while retaining the spirit that
made the pieces so impressive in the first place.
The idea for the album was borne when the legendary
cellist met the equally legendary composer at the
Oscar ceremony a couple of years ago.
Morricone has compiled six suites
of music, mostly played continuously. The album begins
with a fairly short suite from The Mission and it
is clear from the outset that this is something special,
with Morricone employing the cello not only as the
lead instrument but frequently to provide countermelody
in other sections ("Gabriel's Oboe" first
sees an exquisite cello performance, later developing
into the familiar oboe performance with Ma weaving
his way around in intriguing and rewarding fashion).
This sets the tone for the rest of the album, with
Ma's performances raising even the most beautiful
of Morricone's themes to new heights. Particular mention
must be given to the suite from Sergio Leone movies
- "Deborah's Theme" from Once Upon a Time
in America is quite wonderful, with the cello providing
as lilting a performance of the theme as the soprano
did in its original incarnation, and the same could
be said of the main theme from Once Upon a Time in
the West, which is as heartbreaking a theme as it
always has been. One of the album's most striking
cues is "Ecstasy of Gold" from The Good,
the Bad and the Ugly, arguably the composer's most
extraordinary piece of music - but of all the pieces
here, it was the one which most made many fans scratch
their heads when the album's tracklist was originally
announced - it is such an idiosyncratic piece it was
difficult to imagine how it could possibly work in
this setting, but work it does, beginning with the
piece's main melody being heard in a truly mournful,
slow arrangement for cello and orchestra before developing
into an amazing cacophony of sound which is simply
awe-inspiring.
After The Mission and a suite each
for directors Giuseppe Tornatore, Sergio Leone and
Brian de Palma come two suites of music which may
be less familiar to some, but which show off the composer's
ability to produce magnificently beautiful themes
as well as anything. The first features music from
Moses and Marco Polo, the latter of which is one of
Morricone's very finest themes, and the second has
two pieces from La Califfa which are lusher and fuller,
and just as rewarding. Finally (and strangely), exclusively
to those who buy the CD from Borders in America come
two bonus tracks, featuring beautiful versions of
the themes from The Legend of 1900 and The Mission
for piano and cello only. These should undoubtedly
have been featured on every version of the CD.
With the shockingly low quality of
most of 2004's new film music, it is reassuring to
be reminded just what the genre can produce in the
hands of a truly gifted composer, and this release
is undoubtedly the outstanding album of the year so
far. Composer and performer are both at the top of
their games and this one can't be missed.
Buy this CD from amazon.com by clicking
here!
Tracks
The Mission: Gabriel's Oboe (3:11)
The Mission: The Falls (2:27)
The Legend of 1900: Playing Love (1:49)
Cinema Paradiso: Nostalgia (1:58)
Cinema Paradiso: Looking for You (1:43)
Malena: Main Theme (4:21)
A Pure Formality: Ricordare (3:49)
Once Upon a Time in America: Deborah's Theme (3:32)
Once Upon a Time in America: Cockeye's Song (2:13)
Once Upon a Time in America: Main Theme (1:49)
Once Upon a Time in the West: Main Theme (3:21)
The Good, the Bad and the Ugly: Ecstasy of Gold (3:57)
Casualties of War: Main Theme (3:54)
The Untouchables: Death Theme (3:10)
Moses: Journey (2:34)
Moses: Main Theme (2:07)
Marco Polo: Main Theme (3:21)
La Califfa: Dinner (3:51)
La Califfa: Nocturne (2:33)
The Legend of 1900: Playing Love (cello and piano)
(1:50)
The Mission: Gabriel's Oboe (cello and piano) (4:27)
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