布罗克斯顿评说莫里康内 MB-012-122

二十世纪最伟大的谱曲

Craig Lysy 的原始评论

意大利著名导演塞尔吉奥·莱昂内（Sergio Leone）在1966年完成了他著名的美元三部曲的最后一部电影《好、坏，丑》后，取得了许多人认为是成功的巅峰。尽管获得了普遍的赞誉，但他决定他已经说了他想说的一切，并且不会回到西部流派。然而，好莱坞制片厂有其他想法，并希望利用他的才华和成功记录。联合艺术家为他提供了制作新西部片的机会，他选择了当时的主要演员，包括查尔顿·赫斯顿、柯克·道格拉斯或洛克·哈德森。莱昂内拒绝了，但当派拉蒙提出非常慷慨的财务报价时，其中还包括与莱昂内最喜欢的演员亨利·方达合作的机会，他同意了。富尔维奥·莫塞拉（Fulvio Morsella）负责制作，并提供了5万美元的预算。莱昂内聘请贝尔纳多·贝托鲁奇和达里奥·阿金托协助他创作剧本。在项目的后期，意大利编剧塞尔吉奥·多纳蒂（Sergio Donati）被请来协助编辑电影的长度，并微调剧本的对话。优秀的演员阵容包括亨利·方达饰演弗兰克，克劳迪娅·卡迪纳莱饰演吉尔·麦克贝恩，杰森·罗巴兹饰演曼努埃尔“夏安”古铁雷斯，查尔斯·布朗森饰演“口琴”，加布里埃尔·费尔泽蒂饰演莫顿先生，保罗·斯托帕饰演山姆，弗兰克·沃尔夫饰演布雷特·麦克贝恩。

这部电影以 19 世纪后期的亚利桑那州弗拉格斯塔夫为背景，交织着两个故事; 一场关于该地区唯一淡水源的陆战，这是通往太平洋的铁路线计划路线所必需的，以及一个兄弟为他的哥哥死于无情的冷血杀手之手报仇。这部电影的叙事是错综复杂的，只有在最后一幕中，当两个故事的叙事融合在一起时，它才会变得明显。这部电影在商业上取得了适度的成功，在32.2万美元的制作成本中获得了500美元的利润。最初评论界的反响褒贬不一，没有获得奥斯卡金像奖提名。然而，多年来，这部电影的地位显着提高，许多人认为它是有史以来最好的西部片。2009 年，这部电影被美国国会图书馆选为美国电影登记处的荣誉和保存。

塞尔吉奥·莱昂内（Sergio Leone）和埃尼奥·莫里康内（Ennio Morricone）构成了电影史上最优秀的合作伙伴关系之一，毫无疑问，他会被要求为这部电影配乐。他欣然接受了莱昂内的提议，并在开拍前根据他的具体指示，仅根据剧本创作了配乐。[5]莱昂内对莫里康内的天赋充满信心，他会调整自己的拍摄来支持个人作品。莫里康内非常熟悉莱昂内在西部流派中的敏感性。虽然美国导演将广阔的远景作为讲故事的背景，但对莱昂内来说，远景、崎岖的地形和沙漠色彩与演员本身一样，是电影叙事中的演员。因此，在整部电影中，莫里康内经常谈到这一点，莱昂内调整了他的拍摄和摄影，以实现与已经录制的配乐的巧妙融合。

对于他的音景，莫里康内创作了三个主要主题。口琴和弗兰克有一个共同的主题，那就是他们的命运是内在地联系在一起的。在电影的后期，在闪回中，我们发现弗兰克谋杀了口琴的哥哥，从那时起，他就坚定地致力于复仇。主题以多种形式呈现，包括口琴、电吉他和弦乐。口琴的渲染完全由他的标志性口琴进行，而弗兰克的渲染则更具威胁性，并由电吉他或弦乐进行。吉尔的主题提供了这部电影唯一的女性结构，与更暴力和奇特的男性身份并置。由ABAA结构组成，最初令人怀念的A乐句由大键琴，电颤琴和大提琴携带，当与Edda dell'Orso的女高音无言的歌声一起加入时，它被提升到崇高。B Phrase 提供了一个鼓舞人心的号角授权桥，由完整的管弦乐队、合唱团和女高音启动了最后的乐句。这部电影最辉煌的时刻是对吉尔主题的阐述，“西部往事”的提示赢得了大师的不朽。夏安的主题由班卓琴、木块、竖琴和有时吹口哨来表达。旋律是民谣，带着快乐的幸运冷漠。还有一个次要主题，即太平洋主题，它与铁路大亨莫顿先生有关，他毕生致力于建造穿越美国并到达太平洋的轨道。音乐是令人向往的，在木管乐器、田园乐器、电颤琴和海浪拍打海岸的声音中诞生了一种闪闪发光、空灵的结构。最后，我没有完整版的乐谱，只有RCA专辑，其中包含13个提示，这些提示没有按电影场景顺序排序。按照我的正常做法，我在观看电影时回顾了整个乐谱，其中包括专辑中没有的音乐。

《火车站》提供了电影在火车站的延长开场场景。它最初是由莫里康内打进的，但莱昂内做出了创造性的决定，放弃了它，认为它不适合他的设想。相反，他选择提供基于环境声音的音景，例如鸟叫声、风声、苍蝇嗡嗡声和吱吱作响的风车。有趣的是，当弗兰克的三个追随者等待伏击口琴时，这些声音有助于营造紧张气氛。他的到来得到了他正在演奏的口琴对他的主题的生动渲染的支持，其程度令人惊讶地漫不经心。在双方的陈述之后，他成功地干掉了这三个人，而他的左臂只受了皮肉伤。“作为审判”揭示了麦克贝恩一家为布雷特的新娘的到来准备盛宴。除了最小的蒂米之外，他们被弗兰克和他的追随者在一次伏击中残忍地杀害了。当蒂米从房子里出来发现他的家人死了时，弗兰克通过来势汹汹的电吉他对他的主题进行了真正可怕的迭代，从而接近了他。优柔寡断的插曲从1：25开始，他决定了这个小男孩的命运。弗兰克的主题变成了一首由厄运号角带领的挽歌，当我们看到弗兰克冷血地枪杀他时，它告诉我们男孩的命运。

“坏管弦乐队”支持吉尔的火车抵达弗拉格斯塔夫。莫里康内用滑笛、大号、班卓琴和小提琴演奏狂欢节的曲调来支持现场。她充满了幸福，当她意识到没有人在那里迎接她时，她慢慢陷入失望。在《到达车站》中，当吉尔看着显示早上7点55分的车站时钟时，她的主题在大键琴、电颤琴和大提琴上展开。当她离开时，女高音 Edda dell'Orso 无言的歌声加入了 Jill's Theme 的 molto 悲剧渲染。“吉尔的美国”提供了一个奇妙的配乐亮点。当吉尔乘坐马车前往麦克贝恩牧场时，我们看到了她主题的广泛渲染，这在华丽的电影合唱时刻中展开。在弗拉格斯塔夫肮脏、尘土飞扬的街道上，吉尔的主题提供了一种崇高的美感，在莫里康内的构图中得到了充分的体现。当他们驶过被云景席卷的红石纪念碑时，我们实现了令人叹为观止的精致之美的电影融合。

在“第一家酒馆”中，他们在一家酒馆停下来吃点心，男人们对她的美貌啃笑。多声枪响伴随着一个看不见的人的到来，莫里康内播下了紧张的种子，因为所有的目光都转向了前门。夏安被他的班卓琴弹拨主题气势汹汹地带入。他的主题的每一项新陈述都伴随着越来越大的威胁而上升。当他点了一壶酒并开始喝酒时，我们进入了“口琴的男人”，因为口琴的主题听起来很沉闷。我们看到他在酒馆的一个偏僻区域吹口琴，伴随着一把刺耳的电吉他，当夏安走到他身边时，这放大了他的主题的威胁。我们进入了“第二酒馆”，夏安试图嘲讽他，但口琴并没有放纵。他们的两个主题相互作用，口琴转向木管乐器，夏安的金属管乐器被放大。夏安很快和他的手下加入了他们的行列，他们离开了，口琴继续演奏他的口琴，完全漠不关心。

“吉尔的到来”揭示了她到达麦克贝恩牧场时，迎接她的是穿着黑色衣服的客人，布雷特、莫琳、帕特里克和蒂米都死在餐桌上的可怕景象。莫里康内用埃达·德尔·奥尔索（Edda dell'Orso）令人难以忘怀的无言歌声对她的主题进行令人心碎的阐述来支持她的痛苦。小提琴和空灵的合唱占据了我们进入葬礼的旋律。当镇上的人们离开时，吉尔决心继续用挽歌般的法国号来支持他们。“昏暗的房间”提供了一个令人回味的配乐亮点，它提供了吉尔主题的独白。它揭示了吉尔在主卧室的橱柜抽屉里搜索，但没有找到她要找的东西。莫里康内支持绝望的悲哀，她环顾房间，对她的主题进行了哀怨的渲染，充满了心痛和遗憾。“Jill Alone”揭示了她正在翻阅纪念品，这些纪念品由她的主题渲染为三级曲子。当她凝视着家庭照片时，她主题的哀怨音乐盒版本占据了旋律线。当口琴的主题在口琴上响起时，这一刻被打破了。她拿起一把步枪，打开一扇窗户，要求知道谁在那里？当一根火柴被点燃时，她向黑夜开火，但口琴继续演奏。第二天，木管乐器多洛罗索在思考自己的命运时继续她的主题。

在“夏安和吉尔第一部分”中，吉尔认为留下来没有意义，拿起她的行李箱准备离开。她打开门，惊讶地发现夏安站在那里。他的班卓琴主题表情中反复出现威胁。他命令她给他煮咖啡，然后试图弄清楚为什么他被诬陷谋杀。她为他端上咖啡，我们以他的主题的重复结束。中间的场景没有得分。弗兰克会见了他的恩人铁路大亨莫顿先生，莫顿先生表示他对麦克贝恩家族的谋杀案感到不满。在“夏安和吉尔第 1 部分”中，吉尔讲述了她如何愿意放弃在新奥尔良的生活，希望在乡下找到一个好男人的幸福和家庭。对她主题的怀念演绎承载着对话。他问她有没有钱，她说他可以保留他能找到的任何东西，因为她要去新奥尔良。我们悲伤地以夏安离开时她的主题重复结束。

“吉尔和口琴”揭示了她准备在谷仓里登上马车时，口琴响起，口琴加入了她的行列。他的主题是来势汹汹的，高亢的尖叫声放大了他的恐惧，因为他把她赶出马车，开始跟踪她，然后开始扯掉她的裙子。然而，他停了下来，命令她从井里给他打水。夏安的两名手下骑着马走近，当他们举起枪时，口琴在他们开火之前就将其击落。我们以自信的夏安主题结束，他看着并评论说，他不仅可以演奏口琴，还可以射击。在《弗兰克》中，口琴爬上了莫顿的私人火车车厢，但他的影子被弗兰克发现了。当他爬下来时，弗兰克的左轮手枪指着他的嘴。他被抓获并接受审讯，弗兰克要求知道他的身份，口琴以侮辱性的嘲讽回应。当他们的命运再次相交时，对峙通过独奏英国圆号、多洛罗索和痛苦的弦乐对他们的主题进行了沉思的渲染。弗兰克斯下令在他骑马去解决吉尔的事情时把他关起来。

在《火车的车顶上》中，夏安也收起身子，爬上了车顶。他有条不紊地干掉了守卫口琴的三个人，让莫顿现在毫无防备。夏安主题的俏皮渲染承载了场景。“弗兰克和吉尔”揭示了一个来势汹汹的弗兰克，让吉尔在牧场感到惊讶。在场景转换的口琴中，夏安和他的团伙决定建造一个火车站，这样他们就可以为吉尔索取地契。该场景没有音乐。我们回到吉尔身边，发现弗兰克躺在床上，脱掉她的衣服，电颤琴表达了她的主题。她没有反抗，当他亲吻她时，旋律变成了弦乐，但它的发音并不热烈，而是哀怨，正如她向他承认的那样，她会做任何事情来活下去。他考虑通过婚姻获得土地，停顿了一下，然后威胁地说他需要一条更快的路。

在“拍卖会”中，警长正在进行拍卖，唯一的出价是微不足道的 200 美元。我们转到莫顿的火车车厢，在那里他凝视着一幅太平洋的画作。他因骨头结核而痛苦地死去，并担心他无法活着实现到达太平洋的梦想。为了支持这种悲怆，莫里康内推出了他的太平洋主题，这是一个闪闪发光的空灵结构，诞生于木管乐器田园、电颤琴和海浪拍打海岸的声音。后来，我们将场景转移到夏安和他的暴徒在莫顿的火车车厢里打牌。莫顿走近桌子，他加入游戏的请求得到了批准。回到拍卖会上，当 Harmonica 提供 5000美元时，Frank's 经纪人出价 500 美元被阻止。当一个男人在枪口下从二楼走下楼梯时，口琴的口琴情感主题伴随着他的进步，直到我们看到他的脸。这是夏安，他的班卓琴情感主题承载着他的到来。在“被拘留的夏安”中，警长护送他上火车，火车将把他带到尤马一个戒备森严的监狱。一个自信的班卓琴主题支持着他的进步，因为我们看到他的手下买了火车票，这样他们就可以释放他。

“男人”揭示了口琴和吉尔一起喝了最后一杯酒，以庆祝他获得了她的牧场和她的 5,000 美元，足以将她带回新奥尔良开始新的生活。弗兰克进入沙龙时，这一刻被不祥打破了，他的主题被威胁性地渲染所携带。吉尔去洗澡，弗兰克坐下来，要求知道口琴的身份。他回答了吉姆·库珀（Jim Cooper），弗兰克断言他已经死了。然后，弗兰克向他提供了 6,000 美元的土地，并由他的主题的扭曲口琴渲染支持。他看到弗兰克派人封锁了任何出口，拒绝了这个提议，然后上了楼梯，留下了一个正在炖煮的弗兰克。在《僭越》中，莫里康内提供了一个绝妙的例子，即使用无定形的、环境的、不断变化的打击乐纹理来播下明显的张力，并注入神秘威胁的险恶光环。弗兰克走出沙龙，打量街道，口琴闯进吉尔的房间，打量街道，把注意力集中在一匹孤独的马鞍上。颤音琴和金属口音增添了一种紧迫感。突然，口琴干掉了一名屋顶狙击手，然后弗兰克干掉了口琴的两名手下。出乎意料的是，两人对视了一眼，口琴提醒弗兰克他上方有狙击手，他干掉了狙击手。他们俩都放下了枪，现在信任的弗兰克骑马离开了。

“莫顿”揭示了弗兰克在乡间骑着车走向莫顿的火车，莫顿的火车停在远处。对他的主题的哀怨抒情渲染承载着他的接近和到来。他发现他所有的手下都死在地上，于是进入火车，发现更多的死人和莫顿失踪了。当他离开时，他看到一个可怜的莫顿爬向一条小溪，太平洋主题的悲惨最终渲染再次出现，他脸朝下死在水中，一个被压垮的人，尽管他拥有巨大的财富，但无法实现他的野心。“夏安的归来 1”揭示了口琴看着斯威特沃特牧场铺设的轨道，而夏安则骑着快乐的幸运班卓琴渲染了他的主题。他们闭上了眼睛，他走了过去，告诉我们他被口琴监禁是为了获得 5,000 美元的奖励金。他到达了牧场，他和吉尔同时从对面的门进入了小屋。她很友善，并承认她煮过咖啡。在《弗兰克到来》中，有节奏的预示性弦乐和无言的合唱支持弗兰克有目的地驰骋到铁路营地。一个孤独的小号加入并加强了疾驰的主题，因为口琴注意到了弗兰克的方法。会议很紧张，弗兰克要求知道他想从他那里得到什么。他离开时说“只有在死亡的时刻”。[6]《夏安的归来2》继续他们的谈话，他通过窗户看到口琴和弗兰克的接近。他让她出去给工人喝水。

“The Reckoning”揭示了弗兰克和口琴小心翼翼地相对而行，相距约 50 英尺。刺耳的电吉他渲染了他们的主题，支持了日益增长的紧张局势。当弗兰克脱下外套时，旋律变成了弦乐和无词的合唱，随着弗兰克的盘旋而加剧。主题的渐强逐渐增强，但从未达到高潮，而是随着口琴微笑着走向弗兰克而减弱。他相距 12 英尺停下来;音乐停止了，男人们在摊牌中互相凝视，只听到风声。我们进入“死亡拨浪鼓”，在一把怪诞的口琴上，我们听到了他们的主题，我们在闪回中看到，一个年轻的弗兰克向我们走来，从口袋里掏出一把口琴。回到实时，镜头放大了口琴的眼睛，我们进入了“闪回”。我们看到年轻的弗兰克把口琴塞进一个小男孩的嘴里，建议你要照顾好你的弟弟，我们看到他被套在套索上，站在弟弟的肩膀上。弦乐带有他们的主题莫尔托悲剧，这是一个戏剧性的阐述，由无言的合唱支撑，当弟弟倒下时，以敲响的钟声结束，这决定了哥哥的命运。我们进入“最后的复仇”，口琴和弗兰克画画，弗兰克受了致命伤。在他垂死的呼吸中，他问口琴他是谁，这促使他拿出他的口琴。当他把口琴主题塞进弗兰克的嘴里时，口琴主题响起，当他倒下时，他的眼睛里流露出毁灭性的光芒。

“西部往事”提供了一个不朽的提示，一个永恒的配乐亮点，以及大师经典中最好的作品之一。口琴回来了，和吉尔和夏安一起进了船舱。当他进来时，她微笑着，她的幸福被大键琴引导的主题所传达。0：51，女高音埃达·德尔·奥索（Edda dell'Orso）的无言歌声进入，我们见证了吉尔主题的华丽华丽的完整阐述，配乐达到了情感的顶峰。当口琴离开时，吉尔表示希望他有一天能回来。在“告别夏安”中，音乐消退了，夏安也离开并加入了口琴，由他有节奏的弹跳班卓琴主题携带，这掩盖了他因与弗兰克的手下战斗而受致命伤而死亡的展开。他下了马，坐在地上，告诉口琴他不能继续了，因为他死于溃烂的肠伤。男人们意识到这是分道扬镳，莫里康内通过对夏安主题的扩展阐述来支持这一点。在2点24分的被迫停止支持他的死亡，而口琴则在一旁看着。我们以“Finale”结束，因为口琴转弯并见证了第一列火车到达甜水站。莫里康内用对吉尔主题的发自内心的浪漫化渲染来支持这一意象，当我们看到吉尔从口渴的男人中取出水时，埃达·德尔·奥索 （Edda dell'Orso） 的纯正无言的歌声达到高潮。“片尾字幕”由夏安主题的扩展渲染支持，并辅以口哨声。

我相信，就像《好、坏和丑》一样好，莱昂内和莫里康内超越了自己，创造了可能是有史以来最伟大的西部电影。莫里康内从本质上理解莱昂内作为导演的敏感性，并发挥了这些优势，创造了令人惊叹的电影融合。整部电影都充满了张力，在一幕又一幕的场景中，莫里康内赋予了莱昂内权力并增强了莱昂内的叙事。弗兰克和口琴被共同的命运所束缚，莫里康内以共同的主题来支持这一点的构想在构思上是绝妙的。民谣班卓琴为夏安带来了主题，完美地捕捉了他的角色，加强了他出色的表演。然而，正是在吉尔的主题下，配乐达到了其表达的顶峰，“西部往事”的提示赢得了大师的不朽，并自豪地在伟大的电影音乐提示万神殿的神圣大厅中占有一席之地。我们对电影配乐艺术有着共同的热情，还有什么比一位传奇导演根据已经写好的电影配乐制作他的电影更能证明音乐的力量了。我不能夸大这一罕见成就的重要性，并感谢塞尔吉奥·莱昂内的决定。我相信这首乐谱是莫里康内经典的上层，是白银时代的瑰宝，可能是有史以来最好的西部乐谱之一。我强烈建议您将这部出色的电影配乐添加到您的收藏中，但也要观看这部电影以体验莱昂内和莫里康内成就的天才。

对于那些不熟悉乐谱的人，我嵌入了一个 YouTube 链接，指向莫里康内不朽的提示“西部往事”：https://www.youtube.com/watch?v=KSaKBCfJnIM

从英国电影音乐商店购买《西部往事》原声带

曲目列表：

• 西部往事 （3：46）
• 作为审判 （3：08）
• 告别夏安 （2：40）
• 过犯 （4：43）
• 第一家酒馆 （1：41）
• 第二酒馆 （1：34）
• 吹口琴的人 （3：31）
• 昏暗的房间 （5：09）
• 糟糕的管弦乐队 （2：25）
• 男人 （1：03）
• 吉尔的美国 （2：48）
• 死亡拨浪鼓 （1：45）
• 大结局 （4：10）

片长：38分16秒

BMG音乐4736-2-R（1969/1972）

音乐由埃尼奥·莫里康内（Ennio Morricone）作曲和指挥。埃尼奥·莫里康内（Ennio Morricone）的编排。Edda dell'Orso的特别声乐表演。由塞尔吉奥·马科图利（Sergio Marcotulli）录制和混音。乐谱由埃尼奥·莫里康内（Ennio Morricone）制作。专辑由Chick Crumpacker制作

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Renowned Italian director Sergio Leone had achieved what many believed to be the pinnacle of success in 1966, following completion of the last film of his famous Dollars trilogy, “The Good, The Bad, and the Ugly”. Despite receiving universal accolades, he decided that he had said everything he wanted to say, and would not be returning to the Western genre. Hollywood studios, however, had other ideas, and wanted to capitalize on his talent and record of success. United Artists offered him opportunity to make a new Western, and his choice of the leading actors of the day including Charlton Heston, Kirk Douglas or Rock Hudson. Leone declined, but when Paramount made a very generous financial offer, which also included an opportunity to work with Henry Fonda, Leone’s favorite actor, he agreed. Fulvio Morsella was tasked with producing and a budget of $5 million was provided. Leone hired Bernardo Bertolucci and Dario Argento to assist him in crafting a screenplay. Later in the project Italian screenwriter Sergio Donati was brought in to assist with editing the film’s length as well as fine tuning the script’s dialogue. A fine cast was assembled, which included Henry Fonda as Frank, Claudia Cardinale as Jill McBain, Jason Robards as Manuel “Cheyenne” Gutiérrez, Charles Bronson as “Harmonica”, Gabriele Ferzetti as Mr. Morton, Paolo Stoppa as Sam, and Frank Wolff as Brett McBain.

The film is set in Flagstaff Arizona in the late 19th century and entwines two stories; a land battle regarding the region’s only fresh water source, which is needed for a planned railroad line route to the Pacific Ocean, and a brother avenging the death of his older brother at the hands of a ruthless cold-blooded killer. The film’s narrative is convoluted and only becomes apparent during the final act when the two-story narratives converge. The film was a modest commercial success earning a profit of $322,000 over its production costs of $5 million. Critical reception was initially mixed, receiving no Academy Award nominations. However, over the years the film has grown significantly in stature, with many regarding it as the finest Western ever made. In 2009 the film was honored and selected for preservation in the United States Film Registry by the Library of Congress.

Sergio Leone and Ennio Morricone constituted one of the finest collaborative partnerships in the history of Cinema and there was never any doubt that he would be asked to score the film. He readily accepted Leone’s offer and on his specific instructions composed the score based solely on the screenplay prior to the start of filming.[5] Such faith did Leone have in Morricone’s gift, that he would adapt his filming to support the individual compositions. Morricone was well familiar with Leone’s sensibilities in the Western genre. While American directors used the vast vistas as a backdrop to their story-telling, for Leone the vistas, rugged terrain and desert colors were as much an actor in the film’s narrative as the actors themselves. As such throughout the film Morricone speaks to this often with Leone adapting his filming and cinematography to achieve a masterful confluence to the already recorded score.

For his soundscape Morricone composed three primary themes. Harmonica and Frank share a common theme in that their fates are intrinsically bound together. Late in the film during a flashback we discover that Frank murdered Harmonica’s older brother and ever since he has committed resolutely to a quest of vengeance. The theme is rendered in many forms, which include harmonica, electric guitar and strings. Harmonica’s renderings are exclusively carried by his signature harmonica, where Frank’s renderings are more menacing and carried by electric guitar or strings. Jill’s Theme offers the film’s only feminine construct, a well needed juxtaposition to the more violent and peculiar masculine identities. Composed with an ABAA construct, the initial wistful A Phrase is carried by harpsichord, vibraphone and cello, which is raised to the sublime when joined by the wordless vocal of soprano of Edda dell’Orso. The B Phrase offers an inspired horn empowered bridge, which launches the final A Phrases by full orchestra, choir, and soprano. The film’s most glorious moments are expositions of Jill’s Theme, with the cue “Once Upon A Time In The West” earning the Maestro, immortality. Cheyenne’s Theme is emoted by banjo, wood block, harp and at times whistling. The melody is folksy, plodding with a happy go lucky nonchalance. There is one secondary theme, the Pacific Theme, which is attached to Mr. Morton, the railroad magnate and his life long quest to build track that crosses the country and reaches the Pacific Ocean. The music is aspirational and emotes with a sparkling, ethereal construct born on woodwinds pastorale, vibraphone and the sound of waves crashing on the shore. Lastly, I do not have the complete version of the score, only the RCA album, which contains thirteen cues, which are not sequenced in film scene order. As is my normal practice, I reviewed the entire score while watching the film, which includes music not found on the album.

“The Train Station” offers the film’s extended opening scene at the railroad station. It was originally scored by Morricone, but Leone made the creative decision to discard it, believing that it was not a good fit for what he envisioned. Instead he chose to provide a soundscape based on ambient sounds such as bird sounds, the wind, fly buzzing, and a squeaking windmill. Interestingly enough these sounds assist in building tension as Frank’s three henchmen wait to ambush Harmonica. His arrival is supported by a diegetic rendering of his theme by a harmonica he is playing, with a surprising degree of nonchalance. After posturing statements by both sides, he succeeds in taking out all three while suffering only a flesh wound to his left arm. “As A Judgment” reveals the McBain family preparing a feast for the arrival of Brett’s new bride. They are brutally murdered except the youngest Timmy by Frank and his henchmen in an ambush. As Timmy comes out of the house to find his family dead, Frank approaches him empowered by a truly horrific iteration of his theme by menacing electric guitar. An interlude of indecision commences at 1:25 as he decides the young boy’s fate. Frank’s Theme transforms to a dirge led by trumpets of doom, which informs us of the boy fate as we see Frank gun him down in cold blood.

“Bad Orchestra” supports the arrival of Jill’s train in Flagstaff. Morricone supports the scene with a carnivalesque tune played on slide-whistle, tuba, banjo and violin. She is full of happiness, which slowly descends into disappointment when she realizes no one is there to greet her. In “Arrival at the Station”, as Jill looks at the station clock displaying 7:55 a.m., a plaintive rendering of her theme unfolds on harpsichord, vibraphone and cello. As she departs soprano Edda dell’Orso wordless vocals join for a molto tragico rendering of Jill’s Theme. “Jill,‘s America” offers a wondrous score highlight. As Jill departs for the McBain ranch in a carriage, we are graced by an expansive rendering of her theme, which unfolds in a sumptuous cinematic choral moment. Amidst the dirty, dust filled streets of Flagstaff Jill’s Theme offers a sublime beauty fully realized in Morricone’s composition. As they drive through the Redstone monuments swept by cloudscapes, we achieve a breath-taking cinematic confluence of exquisite beauty.

In “The First Tavern” they stop for refreshments at a tavern, where the men leer at her beauty. Multiple gunshots accompany the arrival of someone yet unseen and Morricone sow tension as all eyes turn toward the front door. Cheyenne enters carried menacingly by his banjo plucked theme. Each new statement of his theme rises in register with a growing menace. As he orders a jug and begins drinking, we segue into “Man with the Harmonica” as Harmonica’s Theme sounds diegetically. We see him playing his harmonica in an isolated section of the tavern, joined by a harsh electric guitar, which amplifies the menace of his theme as Cheyenne walks to him. We segue into “The Second Tavern” where Cheyenne tries to taunt him, but Harmonica does not indulge. Their two themes interplay as the interact with Harmonica’s shifting to woodwinds and Cheyenne’s amplified with menacing Metallica. Cheyenne is soon joined by his men and they depart as Harmonica resumes playing his harmonica with complete indifference.

“Jill’s Arrival” reveals her arriving at the McBain ranch greeted by guests all dressed in black and the horrific sight of Brett, Maureen, Patrick and Timmy all laid dead on the dinner tables. Morricone supports her anguish with a heart-wrenching exposition of her theme carried by Edda dell’Orso haunting wordless vocal. Violins and ethereal chorus take up the melody as we segue into the burial. As the town folk depart Jill resolves to stay supported by elegiac French horns. “A Dimly Lit Room” offers an evocative score highlight, which offers a soliloquy by Jill’s Theme. It reveals Jill searching through the cabinet drawers of the master bedroom, and not finding what she was looking for. Morricone supports the pathos of despair as she looks around the room with a plaintive rendering of her theme, which abounds with heartache and regret. “Jill Alone” reveals her going through memorabilia supported by her theme rendered as a threnody. A plaintive music box version of her theme takes up the melodic line as she gazes at family photos. The moment is shattered as Harmonica’s Theme sounds on harmonica. She grabs a rifle, opens a window and demands to know who is there? She fires into the black night when a match is lit, but the harmonica continues to play. The next day woodwinds doloroso resume her theme as she contemplates her fate.

In “Cheyenne and Jill Part 1” Jill sees no point in remaining, grabs her suitcase and prepares to leave. She opens the door and is startled to find Cheyenne standing there. His banjo theme emotes with repeating statements of menace. He orders her to make him coffee and then tries to figure out why he is being framed for the murders. She serves him coffee and we end with a reprise of his theme. An intervening scene is unscored. Frank meets with his benefactor railroad magnate Mr. Morton who states that he is displeased with the murder of the McBain family. In “Cheyenne and Jill Part 2” Jill relates how she was willing to give up her life in New Orleans in hope of finding happiness and a family in the country with a good man. A wistful rendering of her theme carries the conversation. He asks her if there is any money, and she states that he can keep whatever he can find, as she is departing for New Orleans. We close sadly with a reprise of her theme as Cheyenne departs.

“Jill and Harmonica” reveals her preparing to step aboard her carriage in the barn when a harmonica sounds and Harmonica joins her. His theme is menacing and high-pitched screeching amplifies his terror as he forces her out of the carriage, begins stalking her and then begins to rip off her dress. Yet he stops and orders her to fetch him water from the well. Two of Cheyenne’s men approach on horseback, and as they cock their guns Harmonica shoots both down before they can fire. We close atop a confident Cheyenne’s Theme as he looks on and remarks that not only can Harmonica play, he can also shoot. In “Frank” Harmonica climbs atop Morton’s private train car but his shadow is spotted by Frank. As he climbs down Frank’s revolver points at his mouth. He is captured and interrogated, with Frank demanding to know his identity and Harmonica responding with insulting taunts. The confrontation brings out a pensive rendering of their theme by a solo English horn doloroso and aching strings as their destinies again intersect. Franks orders him held as he rides off to settle affairs with Jill.

In “On The Roof of The Train” Cheyenne has also stowed away and climbed atop the roof. Systematically he takes out the three men guarding Harmonica, leaving Morton now defenseless. A playful rendering of Cheyenne’s Theme carries the scene. “Frank and Jill” reveals a menacing Frank surprising Jill at the ranch. In a scene change Harmonica, Cheyenne and his gang resolve to build a railroad station so they can claim the land deed for Jill. The scene is unscored. We return to Jill and find Frank on top of her in bed, undressing her clothes as a vibraphone emotes her theme. She is not resisting, and when he kisses her the melody shifts to strings, but its articulation is not ardent, but instead plaintive as she admits to him, she will do anything to live. He contemplates marriage to obtain the land, pauses and then states with menace that he needs a quicker way.

In “The Auction” the sheriff is conducting an auction and a paltry $200 is the only bid. We shift to Morton’s railway car where we see him gazing into a painting of the Pacific Ocean. He is dying painfully of Tuberculosis of the bones and fears he will not live to achieve his dream of reaching the Pacific Ocean. To support the pathos, Morricone introduces his Pacific Ocean Theme, a sparkling ethereal construct born on woodwinds pastorale, vibraphone and the sound of waves crashing on the shore. Later, we shift scenes to Cheyenne and his thugs playing cards in Morton’s railway car. Morton approaches the table and his request to join the game is granted. Back at the auction a bid of $500 by an agent of Frank’s is blocked when Harmonica offers $5,000. As a man descends the stairs at gunpoint from the second floor, Harmonica’s harmonica emoted theme carries his progress until we see his face. It is Cheyenne and his banjo emoted theme carries his arrival. In “Cheyenne In Custody” the sheriff escorts him to the train, which will take him to a heavily fortified and guarded jail in Yuma. A confident banjo carried theme supports his progress as we see his men buying train tickets so they can free him.

“The Man” reveals Harmonica and Jill having a final drink together to celebrate his gaining of her ranch, and her $5,000, more than enough to carry her back to New Orleans to start a new life. The moment is shattered ominously by the entry of Frank into the saloon carried by a menacing rendering of his theme. Jill departs to take a bath and Frank sits down, demanding to know Harmonica’s identity. He answers Jim Cooper, to which Frank asserts is dead. Frank then offers him $6,000 for the land supported by a twisted harmonica rendering of his theme. He sees that Frank has posted men to block any exit, turns down the offer, and ascends the stairs leaving a stewing Frank behind. In “The Transgression” Morricone offers a brilliant example of sowing palpable tension using amorphous, ambient, ever-changing percussive textures infused with sinister auras of occult menace. Frank exits the saloon surveys the streets as Harmonica breaks into Jill’s room and surveys the streets and focuses on a lone saddled horse. A vibraphone ostinato and metallic accents add a sense of dire urgency. Suddenly Harmonica takes out a rooftop sniper and then Frank takes out two of Harmonica’s men. Surprisingly the two men lock eyes, and Harmonica alerts Frank of a sniper above him, which he takes out. They both lower their guns, and a now trusting Frank departs on horseback.

“Morton” reveals Frank riding in the countryside towards Morton’s train, which is stopped in the distance. A plaintive lyrical rendering of his theme carries his approach and arrival. He finds all his men dead on the ground and enters the train to find more dead men and Morton missing. As he exits, he sees a pathetic Morton crawling toward a stream and a sad final rendering of the Pacific Theme reprises, as he dies face down in its waters, a crushed man unable despite his great wealth to realize his ambition. “Cheyenne’s Return 1” reveals Harmonica watching the tracks being laid by the Sweetwater ranch as Cheyenne rides by carried by a happy go lucky banjo rendering of his theme. They lock eyes, and he passes on by, informing us that his incarceration by Harmonica was a hoax to obtain the $5,000 reward money. He arrives at the ranch, with he and Jill entering the cabin simultaneously from opposing doors. She is friendly and acknowledges that she has made coffee. In “Frank Arrives” rhythmic portentous strings and wordless chorus support Frank’s purposeful gallop into the railroad camp. A solitary trumpet joins and fortifies the galloping motif with their theme as Harmonica takes notice of Frank’s approach. The meeting is tense with Frank demanding to know what he wants from him. He departs saying “Only at the Point of Dying”.[6] “Cheyenne’s Return 2” continues their conversation supported by his plucky theme as he sees the approach of Harmonica and Frank through the window. He asks her to go out and give water to the workers.

“The Reckoning” reveals Frank and Harmonica walking carefully opposed and about 50 feet apart. A harsh electric guitar rendering of their theme supports the growing tension. As Frank takes off his jacket the melody shifts to strings and wordless chorus, intensifying as Frank circles. A crescendo on the theme builds, yet never climaxes, instead diminishing as Harmonica smiles and walks towards Frank. He stops 12 feet apart; the music dies and the men stare at each other in a showdown with only the wind heard. We segue into “Death Rattle” atop a grotesque harmonica carried rendering of their theme as we see in a flashback a young Frank walking towards us and pulling a harmonica out of his pocket. Returning to real time, the camera zooms in on Harmonica’s eyes and we segue into “Flashback”. We see the young Frank stick a harmonica into a young boy’s mouth with the advice to take care of your brother who we see noosed and standing on the younger brother’s shoulders. Strings carry their theme molto tragico, a dramatic exposition buttressed by wordless chorus, which ends with tolling bells as the younger brother falls sealing the older brother’s fate. We segue into “Vengeance At Last” as Harmonica and Frank draw, and Frank is mortally wounded. With his dying breaths he asks Harmonica who is he, which elicits him to pull out his harmonica. The Harmonica Theme resounds as he shoves it into Frank’s mouth, with a revelation of devastation seen in his eyes as he falls dead.

“Once Upon a Time in the West” offers an immortal cue, a timeless score highlight, and one of the finest compositions in the Maestro’s canon. Harmonica returns and joins Jill and Cheyenne in the cabin. She smiles as he enters and her happiness is carried by a harpsichord led rendering of her theme. At 0:51 soprano Edda dell’Orso’s wordless vocals enter and we bear witness to a magnificent sumptuous full exposition of Jill’s Theme where the score reaches its emotional apogee. As Harmonica departs, Jill expresses hope that he will return some day. In “Farewell to Cheyenne” the music subsides as Cheyenne also departs and joins Harmonica carried by his rhythmic bouncy banjo theme, which belies his unfolding death from a mortal wound he suffered fighting Frank’s men. He dismounts, sits on the ground and informs Harmonica he cannot continue as he is dying from a festering bowel wound. The men realize this is the parting of the ways, which Morricone supports with an extended exposition of Cheyenne’s Theme. The forced stop at 2:24 supports his death as Harmonica looks on. We conclude with “Finale” as Harmonica turns and witnesses the arrival of the first train at Sweetwater Station. Morricone supports the imagery with a heartfelt romanticized rendering of Jill’s Theme, which culminates on Edda dell’Orso’s sterling wordless vocals as we see Jill taking water out the thirsty dry-mouthed men. “End Credits” are supported by an extended rendering of Cheyenne’s Theme, which is augmented with whistling.

I believe that as good as “The Good, The Bad, and the Ugly” was, Leone and Morricone surpassed themselves and created what may be the greatest Western movie ever made. Morricone intrinsically understood Leone’s sensibilities as a director and played to those strengths creating a stunning cinematic confluence. There is great tension throughout the film and in scene after scene Morricone empowered and enhanced Leone’s narrative. Frank and Harmonica were bound by a shared fate and Morricone’s conception to support this with a shared theme was brilliant in its conception. The folksy banjo carried theme for Cheyenne perfectly captured his persona, reinforcing his outstanding acting performance. However, it is with Jill’s theme that the score reaches the zenith of its expression, with the cue “Once Upon a Time in the West” earning the Maestro immortality, and proudly taking its place in the hallowed halls of the Pantheon of great film music cues. We share a passion for film score art, and what could be a greater testament to the power of music than a legendary director crafting his film to conform to an already written film score. I cannot overstate the significance of this rare achievement and thank Sergio Leone for his decision. I believe this score to be in the upper echelon of Morricone’s canon, a gem of the Silver Age, and what may be one of the finest scores for a Western ever written. I highly recommend you add this outstanding film score to your collection, but to also watch the film to experience the genius of Leone and Morricone’s accomplishment.

For those of you unfamiliar with the score, I have embedded a YouTube link to the Morricone’s immortal cue “Once Upon A Time In The West”: https://www.youtube.com/watch?v=KSaKBCfJnIM

Buy the Once Upon A Time In The West soundtrack from the Movie Music UK Store

Track Listing:

• Once Upon a Time in the West (3:46)
• As A Judgment (3:08)
• Farewell to Cheyenne (2:40)
• The Transgression (4:43)
• The First Tavern (1:41)
• The Second Tavern (1:34)
• Man with the Harmonica (3:31)
• A Dimly Lit Room (5:09)
• Bad Orchestra (2:25)
• The Man (1:03)
• Jill ‘s America (2:48)
• Death Rattle (1:45)
• Finale (4:10)

Running Time: 38 minutes 16 seconds

BMG Music 4736-2-R (1969/1972)

Music composed and conducted by Ennio Morricone. Orchestrations by Ennio Morricone. Special vocal performances by Edda dell’Orso. Recorded and mixed by Sergio Marcotulli. Score produced by Ennio Morricone. Album produced by Chick Crumpacker.