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5 sets 89 Morricone's music uploaded by Philippine web friend Jing-14

E-mail of JING:

Jing sends his heartfelt gratitude to a very good friend from Switzerland, whereupon these generous mp3 contributions are come from

The photos of Jing and his Philippine typical happyness big family (Jing is second from right)

About Jing

Our friend, Rodison C. Leonardo, was born in the Philippines, a native Filipino. You can also call him by his nickname Jing. He's 34 years old, a Roman Catholic. He holds a degree of Bachelor of Science in Electronics and Communication Engineering. There was once an occurrence in his life he wanted to enter Priesthood after his graduation in college. For some personal reasons, he didn't continue to pursue it. Until now it's very hard to admit that he's still a bachelor at his mature age. He only diverts his time to watch film or hear music after his work. He loves film and music. His real hobbies are to collect music in LPs and CDs, and also to collect films in VHS, VCD and DVD as well. He started to like Sir Ennio Morricone's music when he saw the film "The Mission" in 1995. He considered The Mission music 'very influential' to him. Seeking more of Sir Ennio's works, he joined in one of Morricone's prestige forums. There he met many friends in different nations who really loved to help those who were beginners of knowing Sir Ennio and his magnificent scores. He still makes contact to some of them through e-mail. Knowing friends who have one common goal, "to spread the music of Sir Ennio Morricone", is a very remarkable and tremendous experience for him. It's so great to know there's someone in the Philippines who really appreciate Maestro Ennio Morricone, truly the legend of film music.

Many happy to Jing and his big family
5 sets 89Morricone's music (Original Mp3 is 320Kbps, total is 635M)
Download is able for all 89original 320 Kbps MP3 music period May 1-15,2007, Please enter here

14-001 - Il Trio Infernale (The Infernal Trio , 1974)

Relative movie
"-official" is in official catalogue


Il Trio Infernale (The Infernal Trio , 1974)
Il Trio Infernale (The Infernal Trio , 1974)
Il Trio Infernale (The Infernal Trio , 1974)

Infernal Trio Review

An elegant and outrageous black opera, handled with a panache that deliberately flouts notions of good taste. Piccoli enjoys himself hugely as the civic eminent (a distinguished lawyer newly invested with the Legion of Honour) who swindles and murders unscrupulously with the help of his lovers, two sisters (Schneider and Gomska). The result is a finely balanced fairytale (complete with 'happy' ending), full of a subversive mockery of pathetic respectabilities, unkind but not callous. Avoid the English-dubbed version, which coarsens the film to such an extent that it's scarcely recognisable: the exuberant excesses of Piccoli's performance are made to look merely hammy. (see here)

Le Trio Infernal
a k a The Infernal Trio
1974-France/Italy/West Germany-Satire/Crime Drama

Michel Piccoli is irresistibly slimy in the role of a conniving attorney. Making the acquaintance of two lovely sisters (Romy Schneider and Andrea Ferreol), Piccoli seduces them both. He then invites the sisters into his latest scam: marrying and murdering gullible men and women, then cheating their insurance companies. The noirish intrigues of Infernal Trio are all the more remarkable in that they are based on a true story. It shouldn't be too surprising to first-year French students that the original title of this French/Italian melodrama was Le Trio Infernal. ~ Hal Erickson, All Movie Guide (see here)

Il Trio Infernale (The Infernal Trio , 1974)
Il Trio Infernale (The Infernal Trio , 1974)

A comment about the movie

It's not too hard to understand what this film is aiming at: It's a farce about the moral of the bourgeoisie, drawn into it's ridiculous opposite by evil mastermind Michel Piccoli and his two willing helpers. The problem is, the figures are way too one-dimensional; they are more caricatures than real persons. How then display a critique of the society that helps create people like this and protects them by judging not from deeds or character, but from class and status? The murderous trio's actions go their calm, undisturbed way, no one minds it, no one asks. Add a bit of nudity here and there, some frivolity, some virginal innocence as counterpart, mix it up, and what do you get? A would-be-comedy that wants to be art. Considering this is based on actual events, the reconstruction leaves an even worse taste. For a film from the worlds leading film nation, filmed during the most promising decades of film and starring good actors, a major disappointment.

(see here)
About CD 01, 02, 03, 04 , 05
About movie 01, 02, 03


Acido e Charme
Rag Nuziale (Primo Matrimonio)
Il Trio Infernale
Rag Nuziale (Secondo Matrimonio)
Acido e Charme
Sinfonietta Requiem All'acido Solforico
Rag Nuziale (Ultimo Matrimonio)
Il Trio Infernale - Unreleased
Rag Nuziale (Primo Matrimonio) - Alternate Version
Acido e Charme - Unreleased
Rag Nuziale (Secondo Matrimonio) - Alternate Version
Il Trio Infernale - Unreleased
Acido e Charme - Unreleased
Il Trio Infernale (Original Main Title) - Unreleased


14-002 - L' Uccello dalle piume di cristallo (The Bird with the Crystal Plumage 1970)

Relative movie


L' Uccello dalle piume di cristallo (The Bird with the Crystal Plumage 1970)

L' Uccello dalle piume di cristallo (The Bird with the Crystal Plumage 1970)

L' Uccello dalle piume di cristallo (The Bird with the Crystal Plumage 1970)

The Comment about the movie

This is one rare jewel of an intelligent thriller that was also the break-through effort for people like Dario Argento, the director and scriptwriter, Vittorio Storaro, the director of photography, and last but not least Ennio Morricone who composed the soundtrack. There are great performances by a cast of lesser known European actors who did not make it big but are great in this one. I would just like to mention two outstanding supporting performances by Eva Renzi who was never better before or after, and by Mario Adorf who convinces as half-crazed cat-eating painter. The movie will keep you glued to your seat and surprise with an absolutely unexpected twist at the end. Watch and enjoy! (see here)


Sam, an American writer in Rome, witnesses a murder attempt on the wife of the owner of an art gallery by a sinister man in a raincoat and black leather gloves - but Sam is powerless to do anything as he gets trapped between a double set of glass doors in going to her aid. The woman survives, and the police say that she is the first surviving victim of a notorious serial killer. But when they fail to make any progress with the case, Sam decides to investigate on his own, turning up several clues that point in the direction of just one possible suspect - assuming that he really knows who he's looking for...(见这里)

L' Uccello dalle piume di cristallo (The Bird with the Crystal Plumage 1970)
L' Uccello dalle piume di cristallo (The Bird with the Crystal Plumage 1970)
L' Uccello dalle piume di cristallo (The Bird with the Crystal Plumage 1970)
About CD 01, 02, 03, 04              About Movie 01, 02, 03, 04, 05


Plume di Cristallo
Non Rimane Piu Nessuno
Corsa Sui Tetti
Se Sei Stonato
Svolta Drammatica
Fraseggio Senza Struttura
La Citta Si Risvegia.mp3
L'uccello Dalle Piume di Cristallo
Silenzio Nel Caos
Violenza Inattesa
Fraseggio Senza Struttura (Alternate Version) - Unreleased
Piume di Cristallo (Alternate Version) - Unreleased


14-003 -The Good, the Bad and the Ugly( Il Buono, il brutto, il cattivo 1966)

(21Music, Italian edition)

Il Buono, il brutto, il cattivo 1966

Relative movie


Il Buono, il brutto, il cattivo 1966

Il Buono, il brutto, il cattivo 1966

Il Buono, il brutto, il cattivo 1966

Leone's reinvention of the western reaches its epic apotheosis in a movie about the pursuit of gold lost by the Confederates during the Civil War in the Texas theater. Clint Eastwood is the "good" (slow to anger, but quick on the trigger), Lee Van Cleef is the bad (an elegant exemplar of absolute evil) and Eli Wallach is the "ugly" (a menacingly funny, totally amoral bandido whose relationship with the Eastwood character consists largely of betrayals). Leone's magnificent style is all contrasts (huge panoramic shots alternating with tight close-ups, very slow build-ups to lightning-fast action). This perfectly matches a narrative that encompasses sadistic brutality, wild humor and, yes, a tragic vision of war and its consequences.—R.S. (see here)

About CD 01, 02, 03, 04, 05
About Movie 01, 02, 03, 04, 05

A relative movie see here

The Good, the Bad and the Ugly/Il buono, il brutto, il cattivo
The Sundown/Il Tramonto
Fuga Al Cavallo
Il Ponte di Corde
The Strong/Il forte
The Desert/Il deserto
The Carriage of the Spirits/La carrozza dei fantasmi
La Missione San Antonio
Padre Ramirez
The Story of A Soldier/La storia de un soldato
Il Treno Militare
Fine di Una Spia
Il Bandito Monco
Due Contro Cinque
Marcia Without Hope/Marcetta senza speranza
The Death of A Soldier/Morte di un soldato
The Ecstasy of Gold/L'estasi dell'oro
The Trio/Il triello
An introduce about the edition
L'estasi di Morricone
by berlioz II - written on 02.03.07 - Rating: (5 of 5 possible stars)

Advantages Original, enjoyable, different, simply fantastico!
Disadvantages Sound quality, complex album situation
The third in the trilogy of Sergio Leone's legendary spaghetti Westerns starring Clint Eastwood, The Good, the Bad and the Ugly (Il buono, il brutto, il cattivo) is arguably the best of the bunch, which also includes A Fistful of Dollars and For a Few Dollars More. The story revolves around three renegade men after a buried Confederate cache of gold. Eastwood plays the dubious "good" of the title, while Lee Van Cleef is "the bad" and Eli Wallach is "the ugly". The three will do anything to get their hands on the gold, not unprepared to double cross each other at any point, and in the end ending up coming face to face with each other in a three-way Mexican stand-off. The film is a classic in the Western genre, with Leone providing a more dark and rough look at the cowboy scene that in American cinema was still much more aimed towards nostalgic hero-worshipping, where the good guys were always above-board decent with white hats, while the bad guys were always almost devoid of any redeeming qualities. With an almost three-hour running time, The Good, the Bad and the Ugly is a masterpiece of epic proportions and still stands as fresh as it did back in 1966. To provide the distinctive musical soundscape for Leone was again the legendary Italian film composer Ennio Morricone, who created one of his best, original and most well-known scores todate.

The "Main Theme" in itself is already something completely offbeat and highly unique. It opens with a rhythmic thumping of a drum that is followed by the oft-parodied whistling motif on a soprano flute (representing “the good”), arghilophone (representing “the bad”) and human voices (representing “the ugly”). The second part of the theme (this one more forward thrusting than the first part) features an electric guitar and a male choir. From there on the music gets even more excited with a reprisal of the first part accenting the underlying rhythm and now presented by Morricone's experimental "native" human voices. This yields into a virtuostic dialogue with two trumpets and lightning like slashes of guitar (my favorite part I might add) after which the second part is reprised with even greater energy. After this the first part returns and is allowed to wind down to a conclusion. The reason why I have gone into such detail with this opening cue is because it is not easy for us today to really understand how new and strange this main title sounded like back in 1966. The sheer unusualness of the orchestrations, guitar, native voices, male choir, strings, trumpets, whistling, arghilophone, drums, all treated individually and uniquely within a three minute cue make for a very interesting listen. After being parodied so much in the past the overexposure of this music has lowered the sense of awe a little that it now sounds completely natural to our ears, but it still is fun to listen to despite being so popular and well-known. Likewise the fact that Morricone gave the same theme for all three men, but only assigned different sounds for them, makes for quite a unique way of using the leitmotif approach from the usual scoring practices.

Of course there is much more to this score than just the main theme. The quirky orchestrations carry also to the rest of the music and waver between traditional Western music (like in "The Sundown" with its beautiful accoustical guitar work and "The Death of a Soldier" with choir and harmonica) to some more off-beat moments (like in "Il Ponte di Corde" and "Due Contro Cinque"). Apart from the main theme that crops up often during the score in different variations, depending on which of the three men is being depicted, there is also a world-weary, long-drawn melody for the armies engaged in the Civil War that is the very essence of resignation in Western music, appearing in cues like "La Missione San Antonio" and "The Death of a Soldier". It is also turned into a song in "The Story of a Soldier" for Tuco’s torture scene, sounding very much like something Henry Mancini would have written at the same time for films like Breakfast at Tiffany's and Days of Wine and Roses. In "The Strong" we can hear the fanfare-calls of the U.S. Cavalry under a noble trumpet elegy that again brings to mind a setting sun in the great open prairies, which can also be found from "The Carriage of the Spirits" and in a harmonica arrangement in "Marcia" as well as a few other places. Finally there is a rapid piano figure that permeats the entire score as a kind of signature motif of the film itself.

A definite highlight is the cue "The Ecstasy of Gold," which accompanies Eli Wallach as he runs through the cemetery in search of the grave of gold. It opens with a lyrical oboe solo accompanied with the signature piano figurations, which is then taken over by a more pronouced marching rhythm and the voice of soprano Edda dell'Orso, another familiar Morricone-collaborator. These elements are combined with a male choir and strings that all subside for just a moment before the choir, the soprano and trumpets take over, rising in intensity and excitement with the inclusion of tingling guitar, cymbals and strings for the final discovery of the grave. The aural majesty of this single cue of about three-and-a-half minutes is one of the most beautiful things I have ever heard and the increasing layers of different elements from the simple oboe-led opening to the massed intensity of the conclusion is absolutely fantastic. The last cue, "The Trio", is the final stand-off between the three men and is a great way to end the album. There is much Mexican flavor in the trumpet fanfares of the big climaxes in this cue and the intensity of the stand-off are well conveyed in the expectantly hesitating movement of the music. It also works as a kind of summation of Leone’s Dollars trilogy with its inclusion of trademark signatures from all three scores (the Mariachi style trumpet of A Fistful of Dollars, the tingling time motif from A Few Dollars More, and the rapid piano figurations of this score). On the whole this is one of those scores that very much defines the movie it is accompanying, as the film is filled with lengthy, dialogue-free scenes that run on forever, basically including no other sound apart from the music (“The Desert,” “The Strong,” “Due Contro Cinque,” “The Ecstacy of Gold,” “The Trio,” etc.), making it impossible not to notice. Indeed, it is a bit of a shame that much of music in films today no longer bear as much of an importance in elevating a film into a working synthesis of sound and vision instead of remaining as a filler noise in the background. But Leone certainly understood how to do this effectively and that has resulted in some of the most iconic scores ever written for films.

The original album ran for only 34 minutes which was pretty slim, but that resulted because of the original LP's shorter duration. In 2001, however, an expanded version of the score was released by the Italian GDM Records label that included most of the score (some minor and inconsequential bits remaining unreleased), and was again followed in 2004 by virtually the same thing in America, this time provided by Capitol Records. These expanded releases restored some 21 minutes of unreleased material to the original album offering, being a great improvement over the original. Now the two expanded releases, despite featuring the same amount of tracks, are not strictly identical though, and both feature their own pros and cons. The American version boasts far better sound quality for the entire album, that on the Italian version is a bit too cluttered with surface noise and the sound itself is a bit on the thin side. But whereas the Italian release loses somewhat with sound, it gains by giving a fuller representation of the score. Whereas the American version simply mixes the unreleased music with the already available original album tracks, the Italian version features a truer version of “The Story of a Soldier” cue (though it still isn’t exactly the same as heard in the film) and the bigger treat of the complete “The Trio” cue. The original album cut off about three minutes of music from the end of that track (most importantly omitting the reference to the time motif), and this slight has not been corrected in the 2004 American release, but on the Italian 2001 release the music is intact (and let me say, the missing material is so worth to hear). This raises the question why did the later American version not fix this error as the earlier Italian version shows that the music is still in excistence, thus making for a huge disadvantage to the American release.

All things considered, The Good, the Bad and the Ugly is a true masterpiece in the large output of Ennio Morricone, and the most epic of the trilogy of Dollar films. As to which album should you get depends entirely on you. The American version is cheaper and has better sound, but the Italian version is more complete, though only marginally so. Which of these factors is more important to you remains your decision. Personally, my own compromise solution was to just take the two better tracks from the Italian version and the rest of the score from the American one for a CD of my own. Still, despite the more problematic album situation, Morricone’s achievement here is extremely enjoyable and interesting, making it a classic that has really defined the sound of the Italian spaghetti-Western and is well worth to be included among your CDs. Amazon prices the American version for £4.99, while the Italian is more expensive at £10.99.


1. Il buono, il brutto, il cattivo / The Good, the Bad and the Ugly Main Title (2:43)
2. Il Tramonto (The Sundown) (1:15)
3. Sentenza* (1:42)
4. Fuga a cavallo* (1:07)
5. Il ponte di corde* (1:52)
6. Il forte / The Strong (2:23)
7. Inseguimento* (2:25)
8. Il deserto / The Desert (5:17)
9. La carrozza dei fantasmi / The Carriage of the Spirits (2:10)
10. La mission San Antonio* (2:15)
11. Padre Ramirez* (2:37)
12. Marcetta / Marcia (2:53)
13. La storia de un soldato / The Story of a Soldier** (3:54 / 5:30)
14. Il treno militare* (1:25)
15. Fine di una spia* (1:17)
16. Il bandito Monco* (2:46)
17. Due contro cinque* (3:46)
18. Marcetta senza speranza / Marcia without Hope (1:41)
19. Morte di un soldato / The Death of a Soldier (3:08)
20. L'estasi dell'oro / The Ecstasy of Gold (3:23)
21. Il triello / The Trio (Main Title)** (5:03 / 7:14)

* Previously unreleased
** Different edits (American / Italian)

Music Composed, Orchestrated and Conducted by Ennio Morricone
Performed by The Orchestra U.M.R. Unione Musicisti di Roma
Chorus: I Cantori Moderni
Vocal Soloist: Edda dell’Orso
Instrumental Soloists: Nicola Samale, Alessandro Alessandroni, Italo Cammarota, E. Wolf Ferrari, Francesco Catania, Michele Lacerenza, Bruno Battisti D’Amario, Franco De Gemini, Vincenzo Restuccia
Engineered by Giuseppe Mastroianni
Recorded at International Recording Studio
1966 / EMI, 1985 (CDP 7-48408-2)
GDM, 2001 (0156982)
Capitol, 2004 (98621)

? berlioz, 2005/2007 Summary: Morricone goes all out for an original Western sound (see here)


14-004 - Nuovo Cinema Paradiso (1988)

Relative movie
"-official" is in official catalogue


It includes 23 Mp3 music with 320Kbps (124M), a similar web page see here

14-005 - Once Upon A Time in America (1984)

Relative movie
"-official" is in official catalogue


It includes 19 Mp3 music with 320Kbps (172M), a similar web page see here
Download is able for all 89 original 320 Kbps MP3 music period May 1-15,2007, Enter here

Published on April 20, 2007



Download is able for all 89 original 320 Kbps MP3 music period May 1-15,2007, Please enter here
Jing sends his heartfelt gratitude to a very good friend from Switzerland, whereupon these generous mp3 contributions are come from

Honorary Oscar 2006 goes to composer Ennio Morricone

congratulations Morricone most heartily

Ennio Morricone Mini biography: A classmate of director Sergio Leone with whom he would form one of the great director/composer partnerships (right up there with Eisenstein & Prokofiev, Hitchcock & Herrmann, Fellini & Rota), Ennio Morricone studied at Rome's Santa Cecilia Conservatory, where he specialised in trumpet. His first film scores were relatively undistinguished, but he was hired by Leone for Per un pugno di dollari (1964) on the strength of some of his song arrangements. His score for that film, with its sparse arrangements, unorthodox instrumentation (bells, electric guitars, harmonicas, the distinctive twang of the jew's harp) and memorable tunes, revolutionised the way music would be used in Westerns, and it is hard to think of a post-Morricone Western score that doesn't in some way reflect his influence. Although his name will always be synonymous with the spaghetti Western, Morricone has also contributed to a huge range of other film genres: comedies, dramas, thrillers, horror films, romances, art movies, exploitation movies -making him one of the film world's most versatile artists. He has written nearly 400 film scores, so a brief summary is impossible, but his most memorable work includes the Leone films, Gillo Pontecorvos _Battaglia di Algeri, La (1965)_ , Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Nuovo cinema Paradiso (1988), plus a rare example of sung opening credits for Pier Paolo Pasolini's Uccellacci e uccellini (1966). It must be stressed that he is *not* behind the work of the entirely separate composers Bruno Nicolai and Nicola Piovani despite allegations made by more than one supposedly reputable film guide! (see here)




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