克雷格·莱西 评说莫里康内 MCL-001

2017年11月27日

有史以来最好的 100首音乐

Craig Lysy 的原始评论

意大利面西部片《荒野大镖客》和《黄昏双镖客》的商业成功引起了联合艺术家工作室高管的注意。他们联系了意大利编剧卢西亚诺·文森佐尼（Luciano Vincenzoni），向他提供了一份合同，并表示希望购买下一部的电影版权。由制片人阿尔贝托·格里马尔迪（Alberto Grimaldi）、导演塞尔吉奥·莱昂内（Sergio Leone）和文森佐尼（Vincenzoni）组成的意大利创意团队会面并同意合作。他们提出了一个以美国内战为背景的故事，三个流氓加入了一个不安的联盟，寻找埋藏的宝藏。United Artists 同意了故事情节，并提供了 1 万美元的慷慨预算。文森佐尼与莱昂内、阿吉诺雷·因克罗奇和弗里奥·斯卡佩利一起创作了这部并非没有争议的剧本，因为它避开了传统的美国浪漫主义。相反，它对资本主义、贪婪以及战争的破坏性和荒谬性进行了有力的社会评论。它的英雄不那么纯洁，不那么正义，在道德上更加模棱两可，英雄和恶棍之间的界限模糊不清。

莱昂内带来了一个优秀的演员阵容，其中包括克林特·伊斯特伍德饰演布隆迪（无名之辈）、“好人”，一个内敛但自信的赏金猎人，“李·范·克莱夫”饰演天使之眼，“坏人”，一个无情、残忍和反社会的雇佣兵，以及伊莱·瓦拉赫饰演图科·拉米雷斯，“丑陋”，一个不道德、冲动和滑稽的墨西哥土匪。这个故事提供了一个经典的道德剧，我们目睹了强大和相互竞争的情感的交集; 贪婪、口是心非、和背叛。三个人为了一个共同的目标走到一起，建立了一个不安和自私的联盟，因为他们试图挖掘出 200,000 美元的邦联黄金。黄金被埋在悲伤山公墓的坟墓里，图科知道墓地的位置，而布隆迪知道宝藏埋在哪个坟墓里。展开的是一场意志的较量，当我们探索三者中的每一个人愿意在多大程度上实现他们的目标时，目的证明了手段的合理性。这部电影没有获得任何季末奖提名，评论界的反响很苛刻，许多人对无端和血腥的暴力感到厌恶。然而，随着时间的流逝，这部电影获得了极大的赞赏，许多人断言它是有史以来最好的西部片之一。在商业上，这部电影取得了巨大的成功，比其制作成本多赚2400万美元。

塞尔吉奥·莱昂内（Sergio Leone）曾与埃尼奥·莫里康内（Ennio Morricone）合作过两部早期电影，他是这一最新作品的自然人选。他继续避免使用古典浪漫主义的成语，而是拥抱一种非传统的音景，只能用奇异、非常规和辉煌来形容。说明性的是他独特的主旋律，它模拟了土狼的嚎叫，由陶笛、长笛、本土主义鼓、口哨声、枪声和无言的人声携带。它的乐句提供两组四首带有计数器的重复声明，第一组由高音域陶笛和无词人声组成，而第二组则提供带有口哨的低音区陶笛。B 乐句由电吉他和无词人声携带，并具有更结构化的旋律结构，既有戏剧性又有激情。这个主题既是三个人集体的身份，也是个人的身份，每个人都有不同的表达方式;金发女郎的长笛，天使之眼的陶笛和图科的人声。在介绍三个人之一的每个场景中，乐句都会以他们的化名回响;好的、坏的和丑陋的。

另外两个主题支持这部电影，两者都提供了精致的美感。挽歌主题提供了一首令人回味的小号挽歌，并加入了同类对位小号。它被用作战败和垂死的同盟军士兵的主旋律。它提供了乐谱中最动人、最感人的陈述之一。同样精彩和动人的是《士兵的故事》主题，它实现了文字和旋律的完美融合。这首发自肺腑的歌曲讲述了战争的艰辛、徒劳和悲剧。这是莫里康内写的哀歌，托马斯·康纳（Thomas Connor）的歌词感人至深。有时，它是由口琴和口哨在没有歌词的情况下呈现的。最后，莫里康内为他的音景注入了各种各样的乐器和效果，赋予了其独特和非常规的表现力，包括亚历山德罗·亚历山德罗尼（Alessandro Alessandroni）演奏的原声吉他、佛朗哥·德·双子座（Franco de Gemini）的口琴、响板、鼓、传奇人物埃达·德尔·奥尔索（Edda dellOrso）演奏的无词女声、枪声和令人着迷的金属金币闪烁。

《好、坏，丑》是电影史上最具标志性的主片之一，在构思和应用上都完全独一无二。它支持带有标志性主旋律的动画片头字幕的滚动，这为莫里康内赢得了不朽。它模拟了土狼的嚎叫，由陶笛、长笛、本土主义鼓、口哨声、枪声和无言的人声所表达。它以 ABA 形式呈现，带有一个军事喇叭桥，支持战争场景，然后以 BA 声明相反结束。音乐立即向观众提出挑战，并告诉他们这不会是蒂奥姆金·美国支持的传统约翰·韦恩西部片。在第一个场景中，三个男人来要杀死在沙龙里的图科。他们冲了进来，但图科杀死了三个人并逃脱了。当他骑马离开时，主旋律的短语支持图形，“丑陋”。这个简短提示的音乐不在专辑中。在“日落”中，一个小男孩观察到天使之眼骑马向他们的牧场驶来，他跑进去发出警报。一把抒情的原声吉他在柔和的变速琴弦上演奏，以传达他的进步。当他下马时，当他进入牧场时，吉他变得生动起来，掩盖了他的威胁。他受雇杀死男孩的父亲，如果他不透露找到隐藏的黄金所需的信息。尽管父亲合作并投入了 1,000 美元以和平离开，但天使之眼拿走了这笔钱并无情地谋杀了他和他的大儿子。

“句子”揭示了天使之眼将信息带回给雇用他的人。他接受了 500 美元的费用，但随后也谋杀了他。线索支持了谋杀案的后果，哀怨的木管乐器播下了严峻的音景。这句话引出了主旋律的一句话，它支持了图形“坏人”。在《骑马逃跑》中，布隆迪再次将图科交给当局，以获得 3,000 美元的奖励。当他们准备绞死图科时，布隆迪开枪解救了他，他们逃脱了——他们多次使用这个诡计来赚取奖励金。当他们骑马离开时，乐句回响，主旋律的疾驰变体承载着他们的前进。但图科背叛了布隆迪，将他抛弃在沙漠中，并将 3,000 美元据为己有。当他骑马离开时，主旋律的短语支持图形，“好”。

“索桥”是一个多景的提示。我们以图科踉踉跄跄地穿过一座索桥开场。他在沙漠中幸存下来，但快要渴死了。一把自由流动的环境原声吉他承载着他的进步。《主旋律的一句话》将他带入一家商店，在那里他抢劫了店主的两支枪、一顶帽子和 200 美元。在场景转换中，图科进入了一个主题顶部的洞穴，伴随着随机打击乐效果、短笛、长笛和犹太竖琴的不和谐环境。

“The Strong”提供了乐谱中最好的提示之一，是大师作曲天赋的杰出证明。Angle Eyes 继续寻找杰克逊，并骑马进入一座被工会袭击摧毁的邦联堡垒。除了医务室的伤员外，这里空无一人。令人回味无穷的《王牌与诞生的挽歌主题》以同族对位小号为装饰，为我们增添了乐谱中最动人的段落之一。我只是不想离开美丽而令人难以忘怀的场景。“In Chase”完整而毫不掩饰地演绎了主旋律，我们看到图科骑马追赶布隆迪，布隆迪再次逃脱了他。当他接近时，他的主题充满了决心。“沙漠”提供了一个令人惊叹的配乐亮点，莫里康内唤起了沙漠的灼热折磨。图科俘虏了布隆迪，并在枪口下强迫他走进沙漠进行可怕的报复。当他走路时，莫里康内用颤音弦乐编织着荒凉的情感和令人毛骨悚然的不和谐音。一架绝望的钢琴加入并迎来了痛苦的折磨，这承载着布隆迪的进步。可怕的喇叭和弦乐随着布隆迪的减弱而发出死亡的节奏。我们开始了一场令人震惊和无情的痛苦折磨，我们观察到布隆迪越是削弱莫里康内音乐的强度，这是一种鼓舞人心的反转！我们以一个缩小的结尾，因为布隆迪崩溃了，濒临死亡。

在《精神的马车》中，当图科准备射杀布隆迪时，他被一辆无人驾驶的马车分散了注意力。挽歌主题承载着它的进步，但在其表达中编织着一种微妙的不和谐和悲伤，它告诉我们有些事情是错误的。这里的对位写作非常出色，女性无词声乐和反小号与主小号线相映成趣。当图科跑出去停下马匹时，他在马车里发现了死去的士兵，他无耻地从他们那里偷走了。然而，有一个人还活着，并答应给他 200,000 美元的金币换取水。在一次讨价还价中，他告诉图科墓地的位置，但没有告诉墓地，坚持要水。当图科跑去找水时，他回来发现这个人已经死了，他的秘密现在被布隆迪掌握着，这些知识阻止了图科的死刑判决。“圣安东尼的使命”揭示了图科带着布隆迪在圣安东尼修道院接受治疗。当我们看到僧侣们照顾伤员时，莫里康内用温暖的法国号和精致的双簧管独奏带来的安慰宗教氛围来支持这个场景，随着旋律在他们之间跳舞，他们由亲戚木管乐器加入共融。这里的木管乐器写作很精致。我们在 图科的主题上结束，因为他被告知布隆迪会活下来。

在《拉米雷斯神父》中，图科向教士打招呼，却发现这是他的兄弟巴勃罗。当巴勃罗向图科讲述他们的父母已经去世时，他们争吵起来，因为图科的怨恨浮出水面。他们吵架，图科离开时条件不好。莫里康内支持与一把哀怨的原声吉他的相遇，其音符带有遗憾的色彩。“玛西娅”透露图科和布隆迪前往墓地时，联邦骑兵拦截了他们。当他们被押送进集中营时，“士兵的故事”歌曲被渲染成由口琴和口哨表达的虚假行进曲调，这承载了他们的进步。在1分12秒，旋律变得柔和，变得平淡无奇，因为腿部坏疽的瘸腿营地指挥官通过望远镜观察新来的人。《士兵的故事》提供了另一个崇高的配乐亮点，一首令人回味的歌曲，实现了文字和旋律的完美融合。这首发自肺腑的歌曲讲述了战争的艰辛和悲剧。这是莫里康内写的哀歌，托马斯·康纳（Thomas Connor）的歌词感人至深。这首歌由部队演唱，因为天使之眼让图科遭受折磨以提取有关黄金的信息——这是一个惊人的并列。

在《军用列车》中，天使之眼将图科送上军用列车，而他和布隆迪则骑马前往墓地。口琴所表达的士兵故事主题支持了这个场景。《间谍的终结》揭示了图科逃离火车并残忍地杀死了折磨他的士兵。当他逃脱时，他的主题在胜利中回响。在0：29，我们将场景切换到挽歌主题顶部的城镇，以支持行刑队处决一名士兵。“失手的强盗”揭示了图科被一名男子跟踪，试图为他的右手报仇，图科开枪打死了他。莫里康内用可怕的弦乐、喋喋不休的打击乐和图科主题的片段播下了紧张的种子。然而，图科通过枪杀该男子而笑到了最后。在“二对五”中，布隆迪逃脱了，杀死了天使之眼五个人中的一个，并与图科会合。两组人慢慢地为摊牌做好准备。莫里康内通过变化和随机的打击乐击打、不和谐的号角和滚动的鼓声在质感上播下了紧张的种子。随着布隆迪和图科占据上风，在主旋律的 B 乐句的自信渲染之上取得了进展。在大炮爆炸扬起尘埃云后，随着随机打击乐的重演、不和谐的号角和滚动的鼓声，紧张感又回来了。随着尘埃云的消退，图科和布隆迪开枪打死了天使之眼的最后一名手下，却发现他已经逃跑了。

当他们在“没有希望的玛西娅”中继续前进时，他们被联邦军队俘虏并带到一名醉酒的上尉那里，准备对同盟军控制的一座桥梁进行最后的攻击。我们看到上尉在准备带领他的部队进行一场徒劳的战斗时，听天由命。莫里康内用无言的合唱演绎《一个士兵的故事》主题营造出一种阴郁的氛围，让我们充满了令人心碎的悲伤。“士兵之死”提供了一个配乐亮点，因为我们看到医务人员带回了受了致命伤的上尉。布隆迪被感动了，出于同情，给了他最后一杯酒。莫里康内支持上尉的死亡，布隆迪后来给一个年轻的叛军垂死的士兵最后一口香烟，一个士兵的故事主题由挽歌小号和无词的合唱进行。音乐给这一幕带来的情感力量无比动人，完美地捕捉了战争的可怕代价。

“黄金的狂喜”为我们提供了乐谱的杰作线索，也是大师广泛经典中最崇高的经典之一。图科和布隆迪在炸毁桥梁时分享了他们的秘密，图科已经骑马离开，试图首先获得黄金。大炮从他身下射出，他跌跌撞撞地走进了墓地。莫里康内永恒的旋律在英国圆号和闪烁的钢琴声中犹豫不决地开始，但随后开始了激动人心和奇妙的上升，伴随着天使般的无言女声，我们看到图科在期待的狂喜中兴高采烈地冲过墓地。缓慢而无情地，我们开始在 dell'Orso 的歌声、华丽的弦乐和庆祝的号角上激起欢乐的高潮，镜头旋转，图科在坟墓中盘旋，寻找 Arch Stanton 墓碑。当他找到梦寐以求的墓碑时，肆无忌惮的喜悦光荣地达到高潮。

“三重奏”为时代提供了一个结局，三个男人之间的经典墨西哥对峙，摄影、表演和音乐达到了非凡的融合。Arch Stanton 坟墓是一个诡计，布隆迪利用了他的职位，因为他是唯一知道正确墓地的人。他让天使之眼将枪入鞘，并提议在一块平坦的岩石上写下墓碑的名字，然后他打算将其放置在圆形岩床的中心——言下之意很明显，谁在对峙中幸存下来，谁就赢得了黄金。当他走到摇滚床的中心时，一首抒情的长笛独奏编织了一首田园诗，并由带有响板装饰的对位原声吉他加入，形成一条重复的线条。接下来是莫里康内交替使用两种音乐结构的光彩，喇叭主题讲述了男人对胜利的追求和对黄金的渴望，而钢琴吉他主题则表达了他们的恐惧和焦虑。1 点 43 分，号角响起，伴随着无言的女声合唱，男人们在岩床上占据了位置。他们形成了一个死亡三角形，大张旗鼓的吹嘘说明了他们对黄金的渴望。吉他主题和钢琴重新开始，当每个人都打量着其他人并考虑先向谁开枪时，气氛更加紧张。慢慢地，莫里康内通过模拟枪声注入金币的金属闪烁声来升级紧张局势。当钢琴鼓声中充斥着鼓声时，紧张感变得难以忍受，与喇叭声交替出现，我们看到图科因焦虑而大汗淋漓，天使之眼缓慢而故意地将右手移向他的左轮手枪。3分49秒，号角声响起，随着镜头的来回移动，每个人的眼睛和枪手的特写镜头都伴随着舞蹈般的鼓声。天使之眼先拉，被布隆迪击倒。图科的枪没有开火，他毫无防备地站着，但布隆迪饶了他一命，而是用两枪致命地射杀了天使之眼。我们得知布隆迪在前一天晚上解除了图科的枪，现在命令他在邻近的名为“未知”的坟墓上挖出黄金。

专辑中没有提供最后一幕的配乐。当图科取回一袋袋金子时，他抬起头来，看到了一个刽子手的绞索。主旋律在他思考自己的结局时哀嚎着。布隆迪命令他站在坟墓十字架不稳定的手臂上进入绞索。随着布隆迪骑马离开，死亡的鼓声节奏开始了无情的节奏。图科努力保持平衡，以免他死去，诅咒他的命运，而布隆迪则渴望他脚下的金币。然而，当布隆迪转身射击时，鼓声变得沉默，像他以前多次一样切断了绳索，从而拯救了图科。当他倒下时，主旋律回荡在图科的脸上，标题为“丑陋”，天使之眼的脸“坏人”，布隆迪的脸，“好人”。我们以布隆迪骑在鼓节奏上结束，而图科则大喊淫秽。当我们看到布隆迪骑马上山时，主旋律最后一次重演。

我要感谢 Gianni Dell'Orso 和 GDM 对莫里康内杰作的精彩扩展渲染。重制非常出色，提供了极好的聆听体验。大师的这一努力在构思上是完全独特的，并且执行得非常出色。标志性的主旋律提供了电影史上最知名的主题之一，直到今天，公众都能立即认出这个主题。莱昂内对这部电影的愿景避开了传统的好莱坞西部片及其浪漫化的美国风格，而是为公众提供了一种严厉、暴力和卑鄙的叙事，对战争的徒劳无益进行了严厉的控诉，模糊了英雄和恶棍之间的鲜明界限。莫里康内意识到了这一点，并写下了一首历久弥新的乐谱，这首乐谱与莱昂内的愿景完美融合。除了他的主旋律已经传承传奇之外，他令人回味的挽歌和士兵的故事主题以其抒情的美感和难以忍受的悲怆而至极感人。最后两张专辑提供了莫里康内经典中一些最好的作品，他的“黄金狂喜”作品现在被认为是不朽的，是电影史上音乐和电影叙事的最佳结合之一。《三人组》中经典的墨西哥对峙场景之所以成功，是因为莫里康内精湛的洞察力和对三人相互竞争的情感的充实，这是一场非凡的战争，无论是在男人内部，还是在他们之间，欲望与恐惧之间的暴力十字路口。我相信这部配乐是电影史上最好的配乐之一，是莫里康内经典中的杰作，也是白银时代的瑰宝。我强烈建议您购买它并将其添加到您的收藏中。

对于那些不熟悉的人，我嵌入了一个杰作提示“黄金狂喜”的 YouTube 链接。享受： https://www.youtube.com/watch?v=NOKhQ8ObQ7E

从英国电影音乐商店购买《好坏》和《丑陋》原声带

曲目列表：

• 好、坏，丑 （2：38）
• 日落 （1：14）
• Sentenza [句子] （1：39）
• Fuga a Cavallo [骑马逃跑] （1：05）
• Il Ponte di Corde [索桥] （1：51）
• 强者 （2：19）
• Inseguimento [追逐] （2：22）
• 沙漠 （5：14）
• 灵的马车 （2：06）
• 圣安东尼奥传教团 [圣安东尼传教团] （2：13）
• 拉米雷斯神父 [拉米雷斯神父] （2：36）
• 玛西娅 （2：49）
• 一个士兵的故事 （5：30）
• Il Treno Militare [军事列车] （1：22）
• Fine di Una Spia [间谍的终结] （1：12）
• Il Bandito Monco [失踪的强盗] （2：43）
• Due Contro Cinque [二对五] （3：45）
• 没有希望的玛西娅 （1：48）
• 士兵之死 （3：07）
• 黄金的狂喜 （3：20）
• 三重奏 （5：00）

片长：59分22秒

GDM音乐GDM-7001 （1965/2001）

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）改编。音乐独奏家亚历山德罗·亚历山德罗尼、布鲁诺·巴蒂斯蒂·达马里奥、伊塔洛·卡马罗塔、弗朗切斯科·卡塔尼亚、佛朗哥·德·双子座、E·沃尔夫·法拉利、米歇尔·拉塞伦扎、约翰·奥尼尔、文森佐·雷斯图西亚和尼古拉·萨马利。Edda dell'Orso 和 Cantori Moderni di Alessandroni 的特别声乐表演。由朱塞佩·马斯楚安尼（Giuseppe Mastroianni）录制和混音。乐谱由埃尼奥·莫里康内和布鲁诺·尼古拉制作。专辑由Gianni dell'Orso制作。

November 27, 2017

100 GREATEST SCORES OF ALL TIME

Original Review by Craig Lysy

The commercial success of the Spaghetti Westerns A Fistful of Dollars and For A Few More Dollars caught the eyes of studio executives at United Artists. They contacted Italian screenwriter Luciano Vincenzoni, offered him a contract, and expressed a desire to purchase film rights for the next installment. The Italian creative team of producer Alberto Grimaldi, director Sergio Leone and Vincenzoni met and agreed to collaborate. They proposed a story set during the American Civil War, where three rogues join in an uneasy alliance in search of buried treasure. United Artists agreed to the storyline and provided a generous budget of $1.2 million. Vincenzoni joined with Leone, Agenore Incrocci, and Furio Scarpelli to create the screenplay that was not without controversy, in that it eschewed the traditional Americana romanticism. It instead offered a potent social commentary on capitalism, greed, as well as the destructiveness and absurdity of war. Its heroes are less pure, less righteous and more morally ambiguous, where the clear lines between hero and villain are blurred.

Leone brought in a fine cast, which included the titular trio of Clint Eastwood as Blondie (the Man with No Name), “The Good”, a reserved yet confident bounty hunter, Lee Van Cleef as Angel Eyes, “The Bad”, a ruthless, cruel and sociopathic mercenary, and Eli Wallach as Tuco Ramirez, “The Ugly”, an amoral, impulsive, and comical Mexican bandito. The story offers a classic morality play where we witness the intersection of powerful and competing emotions; greed, duplicity, treachery and betrayal. Three men come together in a common goal by forging an uneasy and self-serving alliance as they seek to unearth $200,000 in Confederate gold. The gold is buried in a grave at Sad Hill Cemetery and Tuco knows the location of the cemetery, while Blondie knows in which grave the treasure is buried. What unfolds is a contest of wills, where the end justifies the means as we explore to what extent each of the three are willing to go to achieve their objective. The film did not receive any season end award nominations, and critical reception was harsh with many repelled by the gratuitous and graphic violence. Yet over time the film has gained significant appreciation with many asserting that it as one of the finest Westerns ever made. Commercially the film was massively successful, earning $24 million more than its production costs.

Sergio Leone had collaborated with Ennio Morricone for the two earlier films and he was the natural choice for this latest endeavor. He continued to eschew using a classical romantic idiom, instead embracing a non-traditional soundscape that could only be described as bizarre, unconventional and brilliant. Illustrative is his distinctive Main Theme, which simulates a howling of a coyote, which is carried by an ocarina, flute, nativist drums, whistling, gunfire and wordless vocals. Its A Phrase offers two sets of four repeating declarations with counters, the first set comprised of a high register ocarina and wordless vocals, while the second set offers a low register ocarina with a whistle. The B Phrase is carried by electric guitar and wordless vocals, and has a more structured melodic construct that offers both drama and passion. The theme serves as the identity of the three men collectively, but also individually, with distinct articulations for each; the flute for Blondie, the ocarina for Angel Eyes and human voices for Tuco. In each scene where one of the three is introduced, the A Phrase resounds with their pseudonym; The Good, The Bad, and The Ugly.

Two other themes support the film, and both offer exquisite beauty. The Elegy Theme offers an evocative trumpet elegy, which is joined by kindred contrapuntal trumpets. It is used as a leitmotif for defeated and dying confederate soldiers. It offers one of the score’s most moving and emotional statements. Equally brilliant and supremely moving is the Story of a Soldier Theme, which achieves a perfect confluence of word and melody. The heartfelt song speaks of the travails, futility, and tragedy of war. It is lament written by Morricone with profoundly moving lyrics by Thomas Connor. At times it is rendered without the lyrics by harmonica and whistling. Lastly, Morricone infuses his soundscape with a wide assortment of instruments and effects, which impart its unique and unconventional expression, including acoustic guitars performed by Alessandro Alessandroni, harmonicas by Franco de Gemini, castanets, drums, wordless female vocals performed by the legendary Edda dellOrso, gunfire, and the mesmerizing metallic twinkling of gold coins.

“The Good, The Bad and The Ugly” offers one of the most iconic main titles in cinematic history, one that is totally unique in both its conception and application. It supports the roll of the animated opening credits with the iconic Main Theme, which earns Morricone immortality. It simulates the howling of a coyote, which is emoted by an ocarina, flute, nativist drums, whistling, gunfire and wordless vocals. It is rendered in ABA form with a bridge of martial trumpets, which supports scenes of war, and then concludes inversely with a BA statement. The music immediately challenges the viewer and informs them that this will not be a traditional John Wayne Western supported by Tiomkin Americana. In the first scene, three men come to kill Tuco, who is in a saloon. They burst in, but Tuco kills all three and escapes. As he rides off the A Phrase of the Main Theme supports the graphic, “The Ugly”. The music for this short cue is not on the album. In “The Sundown” a young boy observes Angel Eyes riding in towards their ranch and he runs in to raise the alert. A lyrical acoustic guitar plays over soft shifting strings to carry his progress. As he dismounts the guitar becomes animated belying his menace, as he enters the ranch. He has been hired to kill the boy’s father if he does not disclose the information he needs to find the hidden gold. Although the father cooperates and tosses in $1,000 to leave in peace, Angel Eyes takes the money and ruthlessly murders him and his eldest son.

“Sentence” reveals Angel Eyes bringing the information back to the man who hired him. He accepts his fee of $500, but then murders him also. The cue supports the murder’s aftermath, with plaintive woodwinds that sow a grim soundscape. This statement ushers in the A Phrase of the Main Theme, which supports the graphic, “The Bad”. In “Escape on a Horse” Blondie again turns in Tuco to the authorities for a $3,000 reward. As they prepare to hang Tuco, Blondie shoots the rope to free him and they escape – a ruse they have used many times to earn reward money. The A Phrase resounds as they ride off, with a galloping variant of the Main Theme carrying their progress. But Blondie betrays Tuco, abandons him to the desert, and keeps the $3,000 for himself. As he rides off the A Phrase of the Main Theme supports the graphic, “The Good”.

“The Rope Bridge” is a multi-scenic cue. We open with Tuco staggering across a rope bridge. He has survived the desert, but is dying of thirst. A free flowing and ambient acoustic guitar carries his progress. The A Phrase of the Main Theme takes him into a store, where he robs the owner of two guns, a hat, and $200. In a scene change, Tuco enters a cave atop his theme, which is accompanied by discordant milieu of random percussive effects, piccolo, flute, and Jewish harp.

“The Strong” offers one of the score’s finest cues, an outstanding testament of the Maestro’s compositional gifts. Angle Eyes continues to search for Jackson and rides into a confederate fort that has been decimated by a union attack. It lies deserted except for the wounded in the infirmary. The evocative trump et born Elegy Theme, which is adorned by kindred contrapuntal trumpets, graces us with one of the score’s most moving passages. I just did not wish to move on from the beautiful and haunting scene. “In Chase” a full and unabashed rendering of the Main Theme resounds as we see Tuco riding in pursuit of Blondie, who has once again escaped him. His theme emotes with resolve as he closes in. “The Desert” offers a stunning score highlight where Morricone evokes the searing torment of the desert. Tuco has captured Blondie and at gunpoint is forcing him to walk into the desert to extract a terrible revenge. As he walks, Morricone weaves desolation with tremolo strings emoting and eerie dissonance. A stark piano of hopelessness joins and ushers in a travail of pain, which carries Blondie’s progress. Dire horns and strings affanato raise a cadence of death as Blondie weakens. We begin an astounding and relentless tortured crescendo of pain where we observe that the more Blondie weakens the greater intensity of Morricone’s music, an inspired inversion! We close with a diminuendo as Blondie collapses, and is near death.

In “The Carriage of the Spirits” as Tuco prepares to shoot Blondie, he is distracted by a riderless carriage careening down the road. The Elegy Theme carries its progress, but woven within its articulation is a subtle dissonance and sadness, which informs us that something, is wrong. The contrapuntal writing here is superb with female wordless vocal and counter trumpets playing against the primary trumpet line. As Tuco runs out and halts the horses, he finds within the carriage dead soldiers, from whom he shamelessly steals. Yet one is alive and promises him $200,000 in gold for water. In a bargain, he tells Tuco the location of the cemetery, but not the gravesite, insisting on water. When Tuco runs for water, he returns to find the man dead, and his secret now held by Blondie, knowledge which forestalls Tuco’s death sentence. “Saint Anthony’s Mission” reveals Tuco taking Blondie for medical care at the abbey of Saint Anthony. As we see the monks tending to the wounded, Morricone supports the scene with a comforting religioso ambiance carried by warm French horns and an exquisite solo oboe, which are joined in communion by kindred woodwinds as the melody dances to and from among them. The woodwind writing here is exquisite. We close atop Tuco’s Theme as he is told that Blondie will survive.

In “Father Ramirez” Tuco greets the Padre only to realize it is his brother Pablo. As Pablo relates to Tuco that their mother and father had died, they argue as Tuco’s resentment surfaces. They quarrel and Tuco leaves on bad terms. Morricone supports the encounter with a plaintive acoustic guitar whose notes are tinged with regret. “Marcia” reveals Tuco and Blondie traveling to the cemetery when Union cavalry intercepts them. As they are escorted into the prison camp the “Story of the Soldier” song is rendered as a faux marching tune expressed by harmonica and whistling, which carries their progress. At 1:12 the melody softens and becomes plaintive as the lame camp commander who has a gangrenous leg observes the new arrivals through a telescope. “The Story of a Soldier” offers yet another sublime score highlight, an evocative song, which achieves a perfect confluence of word and melody. The heartfelt song speaks of the travails and tragedy of war. It is lament written by Morricone with profoundly moving lyrics by Thomas Connor. The song is sung by troops as Angel Eyes has Tuco tortured to extract information regarding the gold – a striking juxtaposition.

In “The Military Train” Angel Eyes sends Tuco off on a military train, while he and Blondie set off on horseback for the cemetery. The Story of a Soldier Theme emoted by harmonica supports the scene. “The End of a Spy” reveals Tuco escaping the train and brutally killing the soldier who tortured him. As he escapes, his theme resounds in victory. At 0:29 we change scenes to town atop the Elegy Theme to support a soldier’s execution by firing squad. “The Bandit With a Missing Hand” reveals Tuco being stalked by a man seeking revenge for his right hand, which Tuco shot off. Morricone sows tension with dire strings, chattering percussion and fragments of Tuco’s Theme. Tuco however gets the last laugh by gunning the man down. In “Two Against Five” Blondie escapes, kills one of Angel Eyes five men and joins up with Tuco. The two groups slowly position themselves for the showdown. Morricone sows tension texturally with shifting and random percussion strikes, discordant horns and rolling drums. As Blondie and Tuco gain the upper hand, the advance atop a confident rendering of the B Phrase of the Main Theme. After a cannon explosion raises a dust cloud the tension returns with a reprise of the random percussion strikes, discordant horns and rolling drums. As the dust cloud subsides, Tuco and Blondie gun down the last of Angel Eye’s men, only to discover that he has fled.

As they move on in “Marcia Without Hope” they are captured by Union Troops and brought to a drunken Captain preparing for a final assault on a bridge held by confederate troops. We see that the Captain is resigned to his fate as he prepares to lead his troops into a futile battle. Morricone fills us with a heart wrenching sadness by creating a somber ambiance with a wordless choral rendering of the Story of a Soldier Theme. “The Death of a Soldier” offers a score highlight as we see medics bringing back the mortally wounded Captain. Blondie is moved, and in an act of compassion, offers him one last drink. Morricone supports the death of the Captain, and Blondie later giving a young rebel dying soldier one last drag on his cigarette, with the Story of a Soldier Theme carried by an elegiac trumpet and wordless chorus. The emotive power brought by the music to this scene is supremely moving, and perfectly captures the terrible cost of war.

“The Ecstasy of Gold” provides us with the score’s masterpiece cue, and one of the most sublime in the Maestro’s extensive canon. Tuco and Blondie shared their secrets while blowing up the bridge and Tuco has ridden off in an effort to get to the gold first. Blondie cannon fires the horse out from under him, and he stumbles into the cemetery. Morricone’s timeless melody opens hesitantly on English horn and twinkling piano, but then begins a stirring and wondrous ascent joined by an angelic wordless female vocal as we see Tuco jubilantly dashing through the cemetery in anticipatory ecstasy. Slowly, yet inexorably, we begin an intensifying joyous crescendo on dell’Orso’s vocal, resplendent strings and celebratory horns as the camera spins and Tuco circles through the graves in search of the Arch Stanton headstone. We climax gloriously with unbridled joy as he finds the coveted headstone.

“The Trio” offers a finale for the ages, a classic Mexican standoff between the three men where cinematography, acting and music achieve an extraordinary confluence. The Arch Stanton grave was a ruse and Blondie leverages his position, as he is the only one who knows the correct gravesite. He asks Angel Eyes to sheath his gun, and proposes writing the headstone name on a flat rock, which he then intends to place in the center of a circular rock bed – the implication is clear, who ever survives the standoff wins the gold. As he walks to the center of rock bed a solo lyrical flute weaves a pastorale, and is joined by contrapuntal acoustic guitar with castanet adornment in a repeating line. What follows is brilliance as Morricone alternates two musical constructs, the trumpeting motif, which speaks to the men’s quest for victory and lust for gold versus the piano-guitar motif, which speaks to their fears and anxiety. At 1:43 trumpets resound, joined by wordless female chorus as the men assume positions on the rock bed circumference. They form a triangle of death and the trumpeting fanfare speaks to their lust for gold. The guitar motif and piano resume and raise tension as each man surveys the others and contemplates whom to shoot first. Slowly Morricone escalates the tension by infusing the metallic twinkling sound of gold coins, with mock gunfire. The tension becomes unbearable as the piano agitato line replete with drum strikes, alternates with the trumpeting fanfare as we see Tuco sweating with anxiety, and Angel Eyes slowly, and purposely moving his right hand towards his revolver. At 3:49 trumpets resound and crescendo, empowered by a dance-like cadence of drums as the camera moves to and fro with close ups of each man’s eyes, and their gun hands. Angel Eyes pulls first and is cut down by Blondie. Tuco’s gun fails to discharge and he stands defenseless, yet Blondie spares him and instead finishes Angel Eyes with two more lethal shots. We learn that Blondie had disarmed Tuco’s gun the night before, and now orders him to dig up the gold on the neighboring grave titled, Unknown.

The final scene’s score is not provided on the album. As Tuco retrieves the sacks of gold, he looks up to see a hangman’s noose. The Main Theme wails as he contemplates his end. Blondie orders him into the noose while standing on the unsteady arms of a grave cross. A drum strike cadence of death begins a relen tless rhythm as Blondie rides off. Tuco struggles to maintain balance lest he die, cursing his fate, and Blondie, while lusting for the gold coins at his feet. Yet the drums go silent as Blondie turns and shoots, severing as he had many times before, the rope, thus saving Tuco. As he falls the Main Theme resounds against Tuco’s face with the caption “The Ugly”, against Angel Eyes Face “The Bad”, and Blondie’s face, “The Good”. We close with Blondie riding off atop the drum cadence as Tuco yells obscenities. The Main Theme reprises one last time as we see Blondie ride off into the hills.

I would like to thank Gianni Dell’Orso and GDM for this wonderful expanded rendering of Morricone’s masterpiece. The remastering is excellent and offers a superb listening experience. This effort by the Maestro was totally unique in its conception, and brilliantly executed. The iconic Main Theme offers one of the most recognizable themes in cinematic history, one that to this day is instantly recognizable by the public. Leone’s vision for the film eschewed the traditional Hollywood western with its romanticized Americana, and instead offered the public a harsh, violent and ignoble narrative with a damning indictment of the futility of war, which blurred the sharp lines between hero and villain. Morricone realized this and penned a score for the ages, one which achieved a perfect confluence with Leone’s vision. In addition to his Main Theme, which has passed unto legend, his evocative Elegy, and Story of the Soldier Themes are supremely moving in their lyrical beauty and unbearable pathos. The two final album cues offer some of the finest writing in Morricone’s canon, with his “Ecstasy of Gold” piece now considered immortal, one of the finest marriages of music and film narrative in cinematic history. The classic Mexican standoff scene in “Trio” succeeds because of Morricone’s masterful insight and fleshing out of the competing emotions of the three, a remarkable war, both within the men, and amongst them, a violent crossroads between lust and fear. I believe this score to be one of the finest in cinematic history, a masterpiece in Morricone’s canon, and a Silver Age gem. I highly recommend its purchase and addition to your collection.

For those of you unfamiliar, I have embedded a YouTube link for the masterpiece cue “Ecstasy of Gold”. Enjoy: https://www.youtube.com/watch?v=NOKhQ8ObQ7E

Buy the Good the Bad and the Ugly soundtrack from the Movie Music UK Store

Track Listing:

• The Good, the Bad and the Ugly (2:38)
• The Sundown (1:14)
• Sentenza [Sentence] (1:39)
• Fuga a Cavallo [Escape on a Horse] (1:05)
• Il Ponte di Corde [The Rope Bridge] (1:51)
• The Strong (2:19)
• Inseguimento [Chase] (2:22)
• The Desert (5:14)
• The Carriage of the Spirits (2:06)
• La Missione San Antonio [Saint Anthony’s Mission] (2:13)
• Padre Ramirez [Father Ramirez] (2:36)
• Marcia (2:49)
• The Story of a Soldier (5:30)
• Il Treno Militare [The Military Train] (1:22)
• Fine di Una Spia [The End of a Spy] (1:12)
• Il Bandito Monco [The Bandit with a Missing Hand] (2:43)
• Due Contro Cinque [Two Against Five] (3:45)
• Marcia Without Hope (1:48)
• The Death of a Soldier (3:07)
• The Ecstasy of Gold (3:20)
• The Trio (5:00)

Running Time: 59 minutes 22 seconds

GDM Music GDM-7001 (1965/2001)

Music composed and conducted by Ennio Morricone. Orchestrations by Ennio Morricone. Featured musical soloists Alessandro Alessandroni, Bruno Battisti d’Amario, Italo Cammarota, Francesco Catania, Franco de Gemini, E. Wolf Ferrari, Michele Lacerenza, John O’Neill, Vincenzo Restuccia and Nicola Samale. Special vocal performances by Edda dell’Orso and Cantori Moderni di Alessandroni. Recorded and mixed by Giuseppe Mastroianni. Score produced by Ennio Morricone and Bruno Nicolai. Album produced by Gianni dell’Orso.