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本站2011年起开通赞助窗口,欢迎您的支持,详情见这里

mus-f1011-14 菲律宾网友 Jing 提供的莫里康乐曲-14

JING 的 E-mail 是 rodisonleonardo@yahoo.com

Jing 希望在此表达他对提供这些乐曲的一位瑞士好友的感谢

 

 

 

关于 JING

我们的朋友,Rodison C. Lenardo,出生在菲律宾.您也可以称呼他为Jing.他今年34岁,是一个罗马天主教徒,具有电子和通信工程学士的学位.在他从学校毕业后,他曾希望从事神职.由于某些个人的原因,他没有继续去实现这个愿望.直到现在他仍然还是一个单身汉.他的业余爱好和时间主要用在看电影,听音乐.他的真正的爱好是以LPs和CDs的方式收集音乐,以VHS,VCD,DVD等方式收藏电影.在1995年,当他看了颜尼欧 莫里康(内)的"教会"电影后,他开始喜欢上莫里康的音乐.他认为莫里康的"教会"音乐对他的影响极大,于是他继续寻找更多的莫里康作品.他加入过很多有威望的莫里康论坛.在那里他结识了很多不同国际的朋友.这些人非常乐意去帮助那些莫里康音乐的初学者.现在他仍然通过E-mail和他们保持着联系.这些朋友都曾经从莫里康音乐中得到过非凡的感受,他们的共同目标是"传播莫里康的音乐".在菲律宾,也有这样一些人,他们真正喜爱和欣赏颜尼欧 莫里康大师的伟大作品-真正的电影传奇音乐.

(以上译自菲律宾朋友JING为本站撰写的一篇个人小传,现将原文附后,有兴趣的朋友可以直接阅读)

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.

 

Jing的照片和他的典型的菲律宾幸福大家庭(右二JING)
祝菲律宾朋友JING生活愉快,阖家幸福 !

 

由JING提供的 BBC-HVF 访谈莫里康实况录像请进入这一页 >>>>>>

 

f1011-14 总计5组 89首乐曲 (Mp3原件320Kbps,635M)

本页5组89首320Kbps Mp3 乐曲RAR格式压缩包,在2007.2.15.-28.在音乐下载大厅提供下载

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

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


PLOT DESCRIPTION
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)

Le Trio Infernal
Le Trio Infernal

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)
关于 CD 01, 02, 03, 04 , 05
关于电影 01, 02, 03

 

74-04-official
相关电影页
备注
-official 表示为官方目录
001
Acido e Charme
 
002
Rag Nuziale (Primo Matrimonio)
003
Il Trio Infernale
004
Rag Nuziale (Secondo Matrimonio)
005
Acido e Charme
006
Sinfonietta Requiem All'acido Solforico
007
Rag Nuziale (Ultimo Matrimonio)
008
Il Trio Infernale - Unreleased
009
Rag Nuziale (Primo Matrimonio) - Alternate Version
010
Acido e Charme - Unreleased
011
Rag Nuziale (Secondo Matrimonio) - Alternate Version
012
Il Trio Infernale - Unreleased
013
Acido e Charme - Unreleased
014
Il Trio Infernale (Original Main Title) - Unreleased

 

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

摧花手

摧花手

摧花手

摧花手

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)

意大利恐怖电影大师,达里奥.阿金图成名作,摄于1969年。看过之后,印象特别深,有点类似于<放大>,但又别具一格。

浓郁的希区柯克式影片,一个美国游客山姆到意大利,无意间瞥见一宗谋杀企图,他的及时出现让凶手逃走了,救出女子莫妮卡,随即警察赶到,对莫妮卡及闻讯赶来的丈夫的询问使得山姆对这宗谋杀着了迷,他决定追踪凶手的下落,这自然让他的女友朱丽娅很不快;而同时他和女友也开始接到威胁电话,在一个朋友帮助下,终于发觉电话的背景声音里总是有一种鸟叫声,并分析出是西伯利亚的一种珍禽的叫声,动物园里有这种鸟,自此开始,案件开始浮出水面。(见这里)

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)

摧花手
摧花手
摧花手
参阅这里 CD 01, 02, 03, 04              关于电影 01, 02, 03, 04, 05

 

70-01
相关电影页
备注
001
Plume di Cristallo
 
002
Non Rimane Piu Nessuno
003
Corsa Sui Tetti
004
Se Sei Stonato
005
Svolta Drammatica
006
Fraseggio Senza Struttura
007
La Citta Si Risvegia.mp3
008
L'uccello Dalle Piume di Cristallo
009
Silenzio Nel Caos
010
Violenza Inattesa
011
Fraseggio Senza Struttura (Alternate Version) - Unreleased
012
Piume di Cristallo (Alternate Version) - Unreleased
 

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

好,坏,丑/黄金三标镖客

(21首意大利版)

好,坏,丑/黄金三标镖客

好,坏,丑/黄金三标镖客

好,坏,丑/黄金三标镖客

好,坏,丑/黄金三标镖客

在莱昂内于1966年拍摄的这一系列的第三部作品——《好坏丑》(The Good, The Bad and The Ugly)中,他确立了“意大利面条”(Spaghetti)风格。影片中的无名枪手代表“好”的一方,其对立面——一个心狠手辣的北方军军官代表“坏”的一方。类似西部片中好人战胜恶棍的公式化结构,经过莱昂内的“意大利化”,出现了第三条线索——一个中间型人物。这是个不好也不太坏的、带有喜剧色彩的“丑”的形象。丑的一方所代表的第三势力的存在,打破了原来的正义必然战胜邪恶,有时也就是英雄必然会救出美女的相对直白简单的程式。在角色由于多员化而使戏剧性得到丰富的同时,影片的可视性、观赏性也大大提高。这次,一向富于求新和实验精神的作曲家又为影片配乐注入了勃勃生机和丰富的内涵。电影音乐史上又首次出现了甩鞭声、由男声合唱出的戏谑音效,以及加弱音器小号怪诞、调侃的音色。(见这里)

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)

关于 CD 01, 02, 03, 04, 05
关于电影 01, 02, 03, 04, 05

 

66-05-official
相关电影页
备注
-official 表示为官方目录
001
The Good, the Bad and the Ugly/Il buono, il brutto, il cattivo
 
002
The Sundown/Il Tramonto
003
Sentenza
004
Fuga Al Cavallo
005
Il Ponte di Corde
006
The Strong/Il forte
007
Inseguimento
008
The Desert/Il deserto
009
The Carriage of the Spirits/La carrozza dei fantasmi
010
La Missione San Antonio
011
Padre Ramirez
012
Marcia/Marcetta
013
The Story of A Soldier/La storia de un soldato
014
Il Treno Militare
015
Fine di Una Spia
016
Il Bandito Monco
017
Due Contro Cinque
018
Marcia Without Hope/Marcetta senza speranza
019
The Death of A Soldier/Morte di un soldato
020
The Ecstasy of Gold/L'estasi dell'oro
021
The Trio/Il triello
关于意大利版(21首乐曲)的介绍 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.


TRACK LISTING

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)

新天堂影院

包含23首 320Kbps Mp3 乐曲(124M),曲目和本站此前发表过的网页(见这里)相同
88-08-official
相关电影页
备注
-official 表示为官方目录

14-005 005-Once Upon A Time in America / 美国往事 (1984)

包含19首 320Kbps Mp3 乐曲(172M),曲目和本站此前发表过的网页(见这里)相同
84-01-official
相关电影页
备注
-official 表示为官方目录
本页5组89首乐曲RAR格式压缩包,在2007.5.1-15.在音乐下载大厅分别提供下载,
 
 
2007.4.20发布
 

电影音乐之父Ennio Morricone  意大利电影配乐大师 Ennio Morricone 现已72岁高龄了,他是电影史上最富盛名的配乐大师,我们已经不知道他具体编写创作了多少部电影的配乐,大概是500多部吧,几乎任何风格的电影都有他的创作足迹。所以当我们被他神奇的电影音乐所感染的时刻,让我们记住这个伟大的音乐家的名字-Ennio Morricone。

  他创作的音乐风格极其多样化,种类可谓繁多至极,从古典、爵士到电子、摇滚都在他的音乐作品中有所体现,他曾因《天堂之日》(Days of Heaven)、《教会》(The Mission)、《铁面无私》 (The Untouchable)、《豪情四海》(Bugsy)四度荣获奥斯卡原著音乐提名奖,今年再度以电影《真爱伴我行》再度荣获奥斯卡最佳原著音乐的提名奖。

  值得介绍的是《教会》(The Mission),这是一部具有重要意义的电影配乐作品,大型管弦乐团的宏伟气势与唱诗班的重叠和声的完美运用在电影音乐历史上影响颇为广泛。《四海兄弟》的风格有点忧伤,正象电影一样探讨人生的深刻意义一样,他采用了排萧作为基调,同样以管弦乐来烘托…

  Morricone的音乐具有深刻的含义和浪漫的气质,更使得他的音乐能够和电影塑造的气氛融合的恰到好处,他尤其注重听者内在感情的细腻变化,让听者内心产生共鸣,而大师对于音乐的深刻理解和把握更令人肃然起敬。

意大利名作曲家膺奥斯卡成就奖香港文汇报(2006.12.15) 曾替众多名片包括《Spaghetti Westerns》、《独行侠决斗地狱门》和《荒野大镖客》等担任配乐的意大利殿堂级音乐人Ennio Morricone,将会在明年2月25日举行之第79届奥斯卡颁奖礼中获颁终生成就奖,以表扬他多年来为电影界作出的无比贡献.现年78岁的Morricone,已在其45年工作光景中替逾三百部片负责配乐,然而总是跟终身奖擦身而过,情况宛如过身不久的今届终身奖得主罗拔艾特曼那般.他曾被提名五次,分别是78年"情来自有方",86年"战火浮生".87年"义胆雄心".91年"一代情枭毕斯"及2000年"西西里的美丽传说",此外"星光拌我心"亦是出自他的手笔.奥斯卡的主办单位表示.今次颁奖予Morricone并不止因他创作出如此多数的杰出乐章,还有很多人都对它们相当喜爱(更多见这里这里)

Jing 希望在此表达他对提供这些乐曲的一位瑞士好友的感谢

 
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