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主页--->m-comment-000--->mb-comment-010-94
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布罗克斯顿评说莫里康内 MB-010-94 |
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FA7005 La moglie più bella / The Most Beautiful Wife / 最美丽的妻子 |
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作者 乔纳森·布罗克斯顿 （Jonathan Broxton） |
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ENNIO MORRICONE 评论，第10部分 010-94 |
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ENNIO MORRICONE REVIEWS, Part XFebruary 13, 2021
在我关于标志性作曲家早期职业生涯的系列文章的第十期中，我们来看看传奇人物埃尼奥·莫里康内在1970年创作的最后七首乐谱。这些作品包括有史以来最重要的黄色恐怖电影配乐之一，几部古怪的戏剧，两部意大利面西部片（其中一部由克林特·伊斯特伍德主演），以及一部必须让人相信的迷幻性喜剧配乐！ |
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In this tenth installment of my series looking at the early careers of iconic composers, we take a look at the final seven scores written by the legendary Ennio Morricone in 1970. These titles include one of the most important giallo scores of all time, a couple of quirky dramas, two spaghetti westerns (one of which stars Clint Eastwood), and a psychedelic sex comedy score that has to be heard to be believed! |
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LA MOGLIE PIÙ BELLA [最美丽的妻子] （1970） 《La Moglie Più Bella》是一部意大利剧情片，由达米亚诺·达米亚尼执导。这部电影着眼于“fuitina”的概念，这是意大利南部以前常见的习俗，在这种习俗中，一名年轻女子将被未来的丈夫绑架，然后被迫与绑架者一起参加“matrimonio riparatore”——一种改过自新的婚姻。具体来说，这个故事探讨了弗兰卡·维奥拉 （Franca Viola） 的真实案例，她于 1960 年代在意大利因拒绝参加这样的婚姻而出名，因为她被绑架作为 fuitina 阴谋的一部分，被扣为人质一个多星期，并被多次强奸。这部电影开始奥内拉·穆蒂在她的处女作中饰演弗兰卡，阿莱西奥·奥拉诺饰演她的绑架者，皮耶路易吉·阿普拉饰演调查她案件的宪兵中尉。 莫里康内的配乐严肃而富有戏剧性，但仍然有一些可爱的旋律时刻，整个过程都沉浸在他的风格中。主旋律“La Moglie Più Bella”是标准管弦乐队、犹太人竖琴、cimbalom 和女高音独唱的组合，所有这些都汇集在一起，演奏出一个强烈、有目的、坚定的主题，讲述了弗兰卡的坚定和她不被滥用的决心。它具有他的意大利面条西部片的所有特征，但有趣的是他如何能够将焦点转移到更现代的环境中。主题在乐谱中多次出现;“Dramma Lontano”最初专注于熟悉的滚动钢琴 （ rolling pianos ？），这些钢琴曾是莫里康内几首乐谱的一部分，并用深思熟虑的弦乐围绕着它们，最终演变成一个大胆的声明。后来，“Intimità”重新编排了双簧管和人声的主题，“Sguardi Torbidi”是黑暗的，排列着喜怒无常的木管乐器和鲜明的弦乐， 犹太人竖琴的叮叮当当的声音在乐谱的大部分时间里都很普遍，但莫里康内对周围的管弦乐部分的处理发生了重大变化。例如，“Rapimento in Campo Aperto”和“Lupara”充满了尖锐、尖锐的弦乐和暴风雨般的打击乐，而“In Campo Aperto”则在混音中加入了吉他和尖锐的口哨声，以及疯狂的部落风格节拍。我不确定 boing 声音在上下文中代表什么，但——这里有一个热门观点——我个人认为它破坏了故事的严肃性，感觉就像莫里康内罕见的音调误判。 当然，如果没有可爱的浪漫主题，这不会是莫里康内的配乐，而 La Moglie Più Bella 有几个。“Vito e Francesca”是主旋律的一部分，并将其编排为柔和的弦乐、亲密的钢琴和 Edda dell'Orso 明确无误的声音。旋律的亮点无疑是华丽的“Tema di Francesca”，它再次从开场提示中汲取了主题内容，但呈现的是一首温柔但略带忧郁的哀歌，从木管乐器到柔和的铜管乐器再到弦乐和女高音，而钢琴则在下面重复评论。它真的很可爱，这当然是其他地方的叮叮当当和海绵的可喜休息。 乐谱 La Moglie Più Bella 已多次发行。我个人更喜欢意大利唱片公司 Cinevox 的 2017 年版本，它略微建立在 1999 年早些时候的基础上，并具有卓越的重新制作声音。 曲目列表： 1. La Moglie Più Bella （Single） （2：09）， 2.Campo Aperto 的 Rapimento （1：21）， 3.维托和弗朗西斯卡 （2：21）， 4.纳斯科斯托 （0：28）， 5.Dramma Lontano （2：36）， 6.Intimità （1：18）， 7.卢帕拉 （1：06）， 8.在Campo Aperto（1：42），9。斯瓜尔迪·托尔比迪 （1：37）， 10.里特罗瓦塔（1：22），11。Tema di Francesca （单曲） （2：52）， 12.爱茉莉·崔斯特 （2：02）， 13.在 Campo Aperto – 替代版本 （3：43）， 14.Infinita Malinconia （2：20）， 15.Tema di Francesca （替代版本） （2：22）.Cinevox CDOSTPK-027,29 分 19 秒。 |
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2021.2.13 |
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ENNIO MORRICONE REVIEWS, Part 10-94 |
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LA MOGLIE PIÙ BELLA [THE MOST BEAUTIFUL WIFE] (1970) La Moglie Più Bella is an Italian drama film directed by Damiano Damiani. The film looks at the concept of ‘fuitina,’ a formerly common custom in southern Italy in which a young woman would be kidnapped by a prospective husband and then forced to take part in a ‘matrimonio riparatore’ – a rehabilitating marriage – to her kidnapper. Specifically, the story examines the real-life case of Franca Viola, who became famous in the 1960s in Italy for refusing to take part in such a marriage after she was kidnapped as part of a fuitina plot, held hostage for more than a week, and raped numerous times. The film started Ornella Muti as Franca in her debut film role, Alessio Orano as her kidnapper, and Pierluigi Aprà as the Carabinieri lieutenant who investigates her case. Morricone’s score is serious and dramatic, but still has some lovely melodic moments, and the whole thing is steeped in his style. The main theme, “La Moglie Più Bella,” is a combination of a standard orchestra, a twanging Jew’s harp, a cimbalom, and solo soprano vocals, all coming together to perform a strong, purposeful, determined-sounding theme that speaks to the resoluteness of Franca and her determination not to be abused. It has all the hallmarks of his spaghetti westerns, but it’s interesting how he was able to shift the focus to a more contemporary setting. The theme appears several times in the score; “Dramma Lontano” initially focuses on the familiar rolling pianos that have been a part of several Morricone scores, and surrounds them with thoughtful strings which eventually segue into a bold statement. Later, “Intimità” rearranges the theme for oboes and voice, “Sguardi Torbidi” is dark and arrayed with moody woodwinds and stark strings, The twanging and boinging sound of the Jew’s harp is prevalent throughout much of the score, but what Morricone does with the orchestral parts around them changes significantly. For example, “Rapimento in Campo Aperto” and “Lupara” are full of strident, slashing strings and tempestuous percussion, while “In Campo Aperto” adds guitars and shrill whistles into the mix, as a well as a frantic tribal-style beat. I’m not sure what the boing sound represents in context but – and here’s a hot take – I personally think it undermines the seriousness of the story and feels like a rare tonal miscalculation on Morricone’s part. Of course, this wouldn’t be a Morricone score without a lovely romance theme, and La Moglie Più Bella has several. “Vito e Francesca” takes part of the main theme and arranges it for soft strings, intimate pianos, and Edda dell’Orso’s unmistakable voice. The melodic highlight is undoubtedly the gorgeous “Tema di Francesca,” which again takes the thematic content from the opening cue, but presents is a tender, but slightly melancholy, lament that moves around from woodwinds to soft brass to strings and soprano, while the piano comments repetitively underneath. It’s really lovely, and it’s certainly a welcome break from the pinging and ponging elsewhere. The score La Moglie Più Bella has been released several times. My personal preference is for the 2017 release from Italian label Cinevox, which builds slightly on their own earlier 1999, and has superior remastered sound. Track Listing: 1. La Moglie Più Bella (Single) (2:09), 2. Rapimento in Campo Aperto (1:21), 3. Vito e Francesca (2:21), 4. Nascosto (0:28), 5. Dramma Lontano (2:36), 6. Intimità (1:18), 7. Lupara (1:06), 8. In Campo Aperto (1:42), 9. Sguardi Torbidi (1:37), 10. Ritrovata (1:22), 11. Tema di Francesca (Single) (2:52), 12. Amore Triste (2:02), 13. In Campo Aperto – Alternate Version (3:43), 14. Infinita Malinconia (2:20), 15. Tema di Francesca (Alternate Version) (2:22). Cinevox CDOSTPK-027, 29 minutes 19 seconds. |
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Feb. 13, 2020 |
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本站电影欣赏 |
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Jon 是一位电影音乐评论家和记者，自 1997 年以来一直担任全球最受欢迎的英语电影音乐网站之一 Movie Music UK 的编辑和首席评论员，并且是国际电影音乐评论家协会 （IFMCA） 的主席。在过去的 20多 年中，Jon 撰写了 3,000 多篇评论和文章，并进行了多次作曲家采访。在杂志刊物方面，乔恩曾为《电影配乐月刊》、《原声带杂志》和《电影音乐》等出版物撰写评论和文章，并为普罗米修斯唱片公司的两张经典 Basil Poledouris 配乐专辑《Amanda》和《Flyers / Fire on the Mountain》撰写了衬垫注释。他还为汤姆·胡佛 （Tom Hoover） 于 2011 年出版的《Soundtrack Nation： Interviews with Today's Top Professionals in Film， Videogame， and Television Scorering》一书撰写了一章。在1990年代后期，乔恩是伦敦皇家爱乐乐团的电影音乐顾问，并与他们合作拍摄了约翰·德布尼（John Debney）的音乐电影《相对价值》（Relative Values）和奥利弗·海斯（Oliver Heise）的音乐《佛陀的指环》（The Ring of the Buddha），以及与兰迪·纽曼（Randy Newman）合作的一系列音乐会。2012年，乔恩在波兰克拉科夫举行的第五届年度电影音乐节上担任“电影节学院”主席。他是作曲家和作词家协会的成员，该协会是作曲家、作词家和词曲作者从事电影、电视和多媒体工作的首要非营利组织。 |
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2023.12.10 |
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2023 手机版 |
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