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比利时-法国电子杂志"Maestro(音乐大师)”在中国专栏
2-004 约婚夫妇
I Promessi Sposi
本文翻译由志愿者 王红梅
如果您需要下载完整的电子杂志请进入Chimai网站 Please enter Chimai website if you need to download the full "Maestro" fanzine
“Maestro/音乐大师”第2期
目录译文
Table of Contents
Preface .................................................................................................................... 3
Maddalena................................................................................................................ 5
Six Degrees of Separation : A vain comparison between E.Morricone and J.Goldsmith ... 10
From Hercules to El Greco: Morricone and Luciano Salce ............................................ 17
I Promessi Sposi : A Masterpiece for a Classic ........................................................... 21
Pomp and Circusmtance, part II.................................................................................. 29
Five Man Army Week.................................................................................................39
Ennio Morricone and China, part II ............................................................................. 40
Queimada 45” Art...................................................................................................... 44
Ennio Morricone and Quentin Tarantino : A Love Story ..................................................47


前言 披露目标
..................................... 3-------已译
玛达莲娜.......................................... 5-------已译
六度分离:E.莫里康内和J.戈登斯密斯之间的比较........ 10-------在译中
从大力神到格列柯:莫里康和卢西亚诺 萨尔斯........... 17-------已译
约婚夫妇:一部杰出的经典力作....................... 21-------已译
壮丽和气氛
第二部分............................... 29-------在译中
五人军队..........................................39-------已译
莫里康和中国,第二部分............................ 40-------已译
凯马达45秒的艺术.................................. 44-------在译中
埃尼奥 莫里康内和昆汀·塔伦蒂诺:一个爱情故事........47-------在译中

由于本站人力所限,欢迎所有朋友和新老志愿者帮助翻译。有意者可联系站长HAN,谢谢
欢迎爱好者进入本站公众平台下载音乐大师中译本1-3期(2014增刊)和4-6期(2015增刊)
 
001-中译文
编者的话:“约婚夫妇”(参见这里这里)是意大利古典文学的瑰宝。在意大利,这部文学名著如同但丁《神曲》一样,家喻户晓,妇孺皆知,深受民众的喜爱。从小说的内容和在西方文学评论中的位置以及在意大利民间流行的程度等等角度来看,它都和中国的红楼梦有很多相近的地方。编者很早就注意到由这部名著改编而成,并由莫里康内配乐的同名系列电视影片(它的年表编号是NA8906)。只可惜直到今年我们才得到这个5集电视连续剧的视频资源。而且还没找到它的字幕,因此对于理解和研究这部重要的作品带来很大的困难。今年6月,我们看到比法在线杂志“音乐大师”发表的这篇文章,这对于爱好者而言是一个好消息。但由于它的篇幅很长,而且涉及的内容也很广,因而一直没能找到合适的机会将其译成中文。前不久,我们又加盟了一位志愿者王红梅朋友,经过商议,她在刚刚用一周时间译完“从大力神到格列柯:莫里康内和卢西亚诺 萨尔斯之后,又欣然接受了这个繁重的任务,并且只用了半个月的时间就交出了这篇长达万言的译文。她的交稿速度(包括译文的质量)实在令人惊讶。编者有幸对此文先睹为快,收获非常之多,觉得这确实是一篇很好的文章。它从电影和音乐两个角度对这部作品进行了详细的解说和分析研究,为我们理解和欣赏这部重要作品开辟了一条捷径。我希望有更多的中国爱好者花一些时间仔细阅读这篇好文章,相信它一定能使大家增长知识,开拓视野,对于莫里康内的作品得到更为深入广泛的认识。利用这个机会,笔者也对王红梅朋友以及几年来不断为爱好者们作出无私奉献的志愿者朋友们表示最衷心的感谢。这支队伍的不断壮大,也必将成为中国莫里康内优秀作品传播事业长足发展的中坚力量
约婚夫妇  一部杰出的经典力作
I Promessi Sposi  A Masterpiece for a Classic
by Patrick Bouster
《约婚夫妇》作为最优秀的意大利小说之一,已经被改编过好多次搬上大银幕和电视屏幕。继三部默片之后,1941年和1964年又分别出了两个电影版本(1964年版本的由卡罗 罗斯提切利配乐)。如此宏伟的史诗力作能浓缩至两个小时实在让人觉得奇怪也很好奇。电视剧只有两个版本:一个是1967年的菲奥伦佐斯 卡尔皮配乐版,另一个是本文要讨论的1989年由雷 欧诺发行的版本。
意大利作家亚历山大 曼佐尼 (1785-1873)于1805年开始在法国巴黎居住,并与一位瑞士姑娘在法国步入婚姻殿堂。在那里他见证了那段史诗般新世纪所有的纷争和变化。他依旧保持温和观点,但同威尔第一样,他也用他的作品和社会影响力,参与和支持意大利的政治变革运动。他们俩还有其他的共同点,包括对法国和法语的了解和欣赏,这一点也是很多意大利艺术家和文人的共性,并一直延续到了20世纪。1870年新议会履行职责确保国家统一并开始实施具体措施时,将一些受尊敬人士列为"参议员",他和那位同处于浪漫主义时期的伟大意大利艺术家一样榜上有名。
出了小说的第一个版本(名为《费穆和卢西娅》)之后,他完成了终稿,在1840年左右发布。作品以托斯坎地区一种通俗且文雅的语言写成,部分得益于作者,这种语言成为了意大利语。而也正因为作品描述普通人的新颖性,使得这种文体更现代,为"复兴运动时期"的感兴趣者记录下了过去一个世纪现实生活中的细节(此处"复兴运动时期"是指由加里波第,首相加富尔,马志尼等重要领导人的带领下为实现意大利统一的起义和内战时期)。
曼佐尼暗示他是以匿名作者转述的方式以另一种形式来描述米兰地区的现实编年史。他最希望用一些基督教价值教导(现已无从考究,可能是指现在的道德,伦理),向人们展示恶有恶报,"心灵纯洁"的人总能实现自我拯救。但这需要一个漫长的过程,在一种初始的探寻之后才发生,这也阐释了一定的人生哲理。因此,小说人物所展现的生活,在所采取的行动和事件里,往往都不遂人愿地陷入困境。
这个情节复杂的故事(用38章讲述)发生在1630年左右的西班牙统治期间,位于伦巴第地区(米兰地区,曼佐尼的童年所在地),靠近科莫湖(迪克马湖)。伦佐 特拉马格里诺和卢西娅 蒙德拉(分别由兰迪 奎因和德尔菲娜 福雷斯特饰演)决定结婚,但一位贵族少爷,唐 罗德里格(加里 卡迪饰)为一己私欲想霸占卢西娅,胁迫懦弱的牧师唐 阿邦迪奥(阿尔伯特 索尔蒂饰)不许为他俩举办婚姻。这位年轻的未婚夫只能离开村庄去逃亡。卢西娅和她的母亲阿格尼丝,在修道士克里斯托弗(佛朗哥 尼禄饰)的帮助下进入蒙扎的一个修道院。人称"蒙扎修女"的修道院院长格特鲁(安东内拉 埃利娅饰)保护了卢西娅。通过她的回忆片段,我们得知了院长艰难的童年,成为修女后被逼婚,以及后来她如何凭远大抱负和强硬态度一步步成为了修道院院长。格特鲁和其他修女们的生活片段也通过一些她们不为人知的角度(纪律严明,性,统治等)进行了展示。
与此同时,伦佐有些天真地去了米兰,试图寻求帮助。

在罗德里格的要求下,"无名氏"("L'innominato")(默里 亚伯拉罕,总是很擅长饰演丑角),一个充满暴力的黑暗领导者,绑架了卢西娅。但不久之后,他变得犹豫不决,备受良心折磨,对卢西娅充满悔意,最终放了这位天使。遇见红衣主教费德里戈 鲍罗麦欧(伟大的伯特 兰开斯特饰演的最后角色之一)后,他追悔自己过去的行为,要求宽恕,并公开宣布决定改过自新。

在米兰,伦佐陷入了因食物匮乏和战乱所引发的暴乱和人群骚动之中。不管承认与否,他被认作暴乱领导人之一,只能被迫离开。该地区已经备受战争和疾病(瘟疫)的摧残。再回米兰后,伦佐发现了他的心上人在类似那个时代健康中心的地方(传染病医院)。那里克里斯托弗正在照顾着数不胜数的病人。唐 罗德里格也在那里,奄奄一息。

在历尽各种磨难之后,这对约婚夫妇终于可以结婚了。

对于这个每集1小时35分,总共5集的短剧系列,雷 欧诺叫来了萨尔瓦托雷 诺斯塔。诺斯塔出生于1934年,拍摄了许多不知名的纪录片和电视短剧系列,他的第一部作品是《尼科特拉》(I Nicotera)(1972年出品,皮耶罗 皮乔尼配乐,两首歌曲由莫里康内编排)。有了优质的拍摄,有了演员出色的表演,这部电影展现了一个逼真的历史场景,让人丝毫不觉虚假。这套短剧系列至今仍未发行过DVD,但在网络上,特别是在Youtube和Rai,可以找到一部分精彩片段,用作学习研究用途。您可以从菜单中的几个章节里查找并选择,比如下面这个:
http://www.raiscuola.rai.it/articoli/i-promessi-sposi-renzo-nei-guai-cap-xiv/3988/default.aspx

针对曼佐尼的长篇故事,莫里康内写了很多的主题曲,颇具特色地收录在Fonit Cetra/Rai Trade LP/CD里。他写了一部交响音乐,穿插了一些合唱部分,以古典风格但仍使用独奏乐器和氛围来表达死亡和这个长篇巨幅故事里的深重苦难。值得注意的是,有些作品并没有听说过:Gertrude, La peste(光碟特别版),Don Abbondio, L'azzec-cagarbugli, Violenza e saccheggio, Lucia。一如往常,光碟以电影中的复仇音乐为标志,收录了很大一部分闻所未闻,或只是部分听闻过的乐曲,比如优美和充满力量的La rivolta del pane

几乎每个主角都有他或她自己的主题音乐:L'innominato, Don Abbondio, L'azzeccagarbugli, Fra Cristoforo, Gertrude/La monaca di Monza甚至有两个。与此相反的伦佐或卢西娅没有任何个人主题音乐。但是,我们或许可以理解,因为我们有总主题音乐I promessisposi,他们的行动和情况对整个故事都有很大的影响力(从乐曲Luciais是基于这段总主题音乐,而不是单独启用一个主题可以看出)。唐 罗德里格太卑鄙不值得拥有一个主题音乐:只有附带和悬疑音乐。对于主标题音乐,I promessisposi被改编缩短了,而“告别山峰/Addio Monti"作为结尾标题音乐也展现了伦佐或卢西娅渡过科莫湖的一些过渡场景,平和静止(参见光碟封面中心的图片)。Monti 不是指人而是指山 (编者注 Monti在意语中为山峰),但标题似乎使人错误地认为这是指"告别蒙蒂"。

然而,由于Marco Polo公司选曲不够妥当,一些有趣的音乐未能录入。不过音乐在这里有了更好的呈现,对话和杂音相对较少。

发表的主题音乐的改编

总主题音乐,作为故事以及这对夫妇的双重主题音乐,毫无疑问有最多的改编。正如Marco Polo公司所做的,加入了女低音吟唱。

我们第一次注意到是在罗德里格的手下去卢西娅洗衣工作的地方搜寻她的时候(2'10),一个超棒的弦乐演奏和女低音独唱版本气势恢宏地紧随在全新的前奏后面。幸运的是,它的完整演绎又出现在结尾处,展现无数因瘟疫而死去的人们。

一个只有弦乐的版本有两种不同展示。一种是管弦演奏,时长1分30秒,听到过好多次,非常优美庄重。另一种28秒,短而连贯,弦乐演奏,更亲切,用作过渡,至少听到四次。

女低音独唱版本展现了一个欢娱的场景,所以几乎算是一段源音乐(2'03)。这似乎是一个符合逻辑的选择,因为那一刻,在故事中段,伦佐和卢西娅暂时团聚。

Fra Cristoforo主题的最后一个乐章有一些很接近的修改:合唱开始的早一些,可能还有其它不同,这样和原始版本比起来给人不同的印象。

四处审慎的改编使得La monaca di Monza主题改变很多:一段浪漫小提琴独奏展现的一次亲密会面;一段很难听清的曼陀林和弦乐版本的节选;还另有一段缓慢而且忧伤的曼陀林和弦乐版本作为新主题的第一部分,其中弦乐描述了性爱场景;以及一段短促的弦乐,出现在上面所提的性爱场面之后,当那个男人进入修道院伤害修女时。这说明了除发布的两个完整版本外,应该还有更多的其他版本。
Arrivo dei lanzi这首曲子在好几个地方(士兵场景)听到,有些时候它省去了打击乐器伴奏。
但最奇怪的是La Peste,没有以光碟里的形式出现,但被改编了去描述罗德里格的手下和其他一些人感染瘟疫的场景。只有韵律存在,处理得相似但不完全相同,并且在39秒处就真正结束了。
流行音乐和源音乐
这些曲子,更像描述轶事,长度不到1分钟,但仍给整个原声带来新颖和多样性。在故事中伦佐去了很多地方,见了很多人,所以有很多群众场景,让我们听到街头和流行音乐。
在第一集里,Renzo's fugue有三段(每段30秒),一段是他在市集中心时的笛子和吉他演奏,另一段是在旅店里的吉他独奏(很肯定是同一乐曲中的一段),最后一段是看到妓女时的曼陀林演奏。随后,拥挤的街道上的"嘉年华"带来了不同音乐的大集合。开头和结尾是一段古典吹奏,之后是一段小提琴独奏但随后很快被长笛、打击乐等典型的公众狂欢音乐所覆盖(大约 1 分钟)。
更有趣的是第二集的小提琴独奏,很有娱乐性。在一个新的主题上,它们呈现了相同的古代风格(58秒和 29秒),很确定它们属于同一个乐曲。
第五集提供了最好、最多的曲目。首先,出现了另一个不同的三段小提琴独奏充当街头音乐,更像19世纪的音乐而不是17世纪,非常动听(整个长度1分35秒)。还有一段嘉年华音乐展现的盛宴,没有什么需要特别指出的(可以听到34秒)。
新的主题音乐

第一集标题之后紧接着就响起第一首未被发行的乐曲(58秒),描述的是唐 罗德里格的骑兵攻击一个妇女,但被农民们击退的场景。这首轻松愉快的弦乐主题之后在同一集里又被演绎,相对较长,描述的是同一个骑兵队捕杀野猪的场景。它的另一段演奏虽能听到,但被许多噪音涵盖。

紧接着第一首乐曲,那些手下进入洗衣房,帮罗德里格寻找卢西娅。缓慢的弦乐演绎了这次搜查,随后卢西娅出现,音乐进入到I promessi sposi主题。

见证了第一次进攻场景的唐 阿邦迪奥恐慌地回到家中,一曲弦乐演奏伴随着他。

当伦佐去见牧师为婚礼做准备时,我们可以听到一段吉他独奏。

克里斯托弗被允许加入修道士的场景,由一段古典音乐演绎。原本可能有些疑虑这段是不是莫里康内写的,鉴于《格列柯传》(El Greco)里也有类似的曲子,所以可以肯定这是出自莫里康内之手(经一个精通消息的意大利记者证实)。在修道院里看到克里斯托弗躲在耶稣的十字架后面之前一点点的场景,我们可以听到一段短促的弦乐,更增添悬疑气氛。

还有一段很短的乐曲,是一个高亮弦乐处理的过渡段,类似于La battaglia di Algeri主题里的弦乐处理。

新的主题也描绘了严肃、烦恼、高深莫测,由美丽的安东内拉 埃利娅饰演的修道院院长,她的美丽外表揭示了为什么她在生活中没有选择的余地。由于CD里最宏伟的曲目之一Gertrude很奇怪地没有被使用,所以她的戏份主要是由庄严的宗教合唱(非莫里康内作品,见下文),一些紧张的音乐以及La monaca di Monza来演绎。

在第三集中,她做了一个噩梦,由惊恐的弦乐展现(1分16秒)。接着,格鲁特和一名闯进修道院的男子(埃吉迪奥)发生了关系。这里由一段更悲伤的La monaca di Monza(发表的主题音乐中提及)变奏(最棒的发现之一)引入,我们听到了一段相当长的乐曲(2分34秒)。这段婉约的弦乐,虽算不上主题音乐,但有一个有趣和详尽的展开,很庆幸能清楚听到。

 
接下来在第四集,在佐把自己隐藏在一个工厂的场景中,我们听到一段长笛和曼陀林演奏的曲目,虽没看到表演者,但这基本算作源音乐,可能是一整段源音乐的部分(见上文)。第四集里伦佐在街道上行走时我们听到的第二段木琴演奏的简短动机,基本又是一段源音乐。
在结尾处,当无数人感染了瘟疫时,两个描述唐 罗德里格的场景都有新的音乐:他奄奄一息时一段营造氛围的音乐(1分21秒),以及不久后他产生幻觉出现的同样萦绕耳边的另一段音乐(57秒)。之后,一个缓慢的新主题带入了I promessi sposi女低音和弦乐来展现因瘟疫而死的人们。最后,当伦佐抵达"传染病医院",看到唐 罗德里格行将就木,他举起他的手,我们听到一段短暂温馨的音乐,更像一段序曲而不是主题。
附带和悬疑音乐
几种弦乐韵律随处可以听到,但它们是短促和叙事性的,起到标点符号一样的作用。稍长一点的弦乐配乐以同样的方式来突出紧张氛围或强调大一点的韵律,同样不太重要。
克里斯托弗与罗德里格的一个手下对峙时,有一段尖锐的弦乐演奏。引人注目的是另外两处尖锐声响的处理方法,运用了电子音效,它们让人不禁想起《胖子和男孩》(Fat man and little boy)里扣人心弦的配乐。不用奇怪,因为那些都发生在同一年,1989年。
无名氏之曲
他在第四集有很多场景,都是由黑暗音乐阐释。他经常孤身一人独自沉思。但之前在第二集里,他搜寻一个目标,命令他的手下抓住并杀害他,是由打击乐和凶险的弦乐展现。在第四集,我们有三段附带音乐,每段40秒,包括《胖子和男孩》里相同处理的那段。他的整个"折磨和自责"的场景中包含了主要的未发行片段(3分4秒),分为两部分:不平静的弦乐(1分28秒),以及另一部分悬疑弦乐伴随的打击乐。后面这部分至少三次在其他地方重复播出,包括他公开忏悔并宣称用刀子自杀谢罪的场景。
Dies irae改编得很好,融合了合唱、敲击乐和钟声,标志着他在会见红衣主教鲍罗麦欧之前的那个阶段精神上产生了变化。
更多的音乐
还有两件作品在短剧系列里没有被使用,之后作为音乐会音乐而发布,取名"两首圣曲"(Due pezzisacri)。他们最终没有被导演采用是因为"太难了",这让听过莫里康内七十年代到九十年代配乐里困难得多的作品的爱好者会心一笑!
第一首(I. Circumdederunt me fluctus mortis)是一首知名的安魂曲,1995年发表于《帕索里尼,一桩意大利犯罪》(Pasolini, un delittoitaliano),并作为这部电影许多曲子及之后电影《永远的教皇:约翰·保罗二世》(Karol, un Papàrimastouomo)里三首曲子的基调。
第二首(II. Gratiasagite Domino),没那么黑暗,渲染了死亡、荒凉,但归于宁静。

所以这两首乐曲确实是一个很好的补充,值得纳入莫里康内合集。我们可以在1996年NANS发行的单CD的 "Percorsi"和1999年BMG发行的双CD组合"The sacred and the profane"里找到。

我们从音乐学家塞尔吉奥 米塞利的著作《La musicà, el cine》(西班牙Mitemas1997年出版)--1994年意大利RicordiMucchi出版的《La musica, il cinema》他的翻译版本--里最新的莫里康内作品附录中得到了关于这两首圣曲的有用信息。当把这两首曲子和这个短剧系列关联起来,并揣度了导演的用意,他说莫里康内的最终决定是将它们添加到他1996年的演唱会音乐目录,而不是之前。此外,他提到了它们原始的标题:Borromeo e L'innominato(描写那个恶人忏悔及改变的场景)和Finale(在传染病医院,罗德里格垂死挣扎,约婚夫妻最终团聚的场面)。乐界对此的肯定就是1990年9月18日在布达佩斯,MAV交响乐团首次演出了它们。Edizioni Suvini Zerboni的网站上也提到了之后1996年11月16日在罗马由D.伦泽蒂指挥的罗马歌剧院管弦乐团及合唱团的音乐会演出。

Addio Monti, Il lazaretto和 Fra Cristoforo在音乐会上都有演出过,虽有所改编但仍保持原先的风格。第一首在2003年单独发行(罗马竞技场音乐会),第二首以La peste的主题,和这里所提到的四个主题音乐一起参与了2006年罗马音乐会的演出(2008出版的6CD盒装La miamusica)。值得注意的是La Peste/Il lazzaretto因其令人印象深刻,难以忘怀的音乐氛围和缓慢的节奏,被称为"第三首圣曲"。音乐会版本的Fra Cristoforo,还是保持原先的配器,只是以更缓慢的方式呈现。不过出现了一个新的章段In lectulomeo,由亨利 杜蒙(1610-1684)谱写。在短剧系列里这段是女声合唱,所以音乐会版本的男女合唱算作一个新的改编。
非莫内康内音乐

结尾标题音乐里有几首女声合唱的教会曲目值得称赞,分别是:

-In lectulomeo,出现在与格特鲁相关的两个场景里;

-亨利 杜蒙的Adestefideles,出现在在十八世纪约翰 F 韦德所作的Christmas chant of St Bonaventure之后;

-Ave Maria,雅克 阿卡德尔特(1504-1568)谱写。

还有两首在剧里不太容易辨识,但是,除了In lectulomeo,四首合唱作品都可以听到。The credits mention : "Cantiliturgicieseguiti da Insiemevocale da camera ad eporedienseanonymi Cantores di Milano".

其它礼拜仪式的音乐:一首礼拜式的管风琴独奏,一首管风琴,还有一首合唱。

一些非宗教的古典音乐也有所呈现,先是在格特鲁父亲家里的一首室内弦乐四重奏。或许正如评论所说的一样"我们一点也不用担心"。

除了莫里康内谱曲的流行源音乐,还有出现了三首流行歌曲。在客栈里及客栈外的a capella,由玛丽亚 蒙蒂(见注)演唱(分别为30秒,39秒和49秒)。对她的评注是"民歌演唱由玛丽亚 蒙蒂"。整个非莫里康内的音乐大概有12分钟。

(注:玛丽亚 蒙蒂,歌手及演员,在电影《革命往事》(Giù la testa),《你对索兰作了什么》(Cosa avete fatto a Solange), 《一九零零》(Novecento)等中出演。她曾参与过一些莫里康内的其他音乐作品,包括四首1960年由莫里康内制作的歌曲,后来还演唱了Scappa fratello scappa -- 莫里康内为电影《一个被控谋杀的学生》(Imputazione di omicidio per un student)所作的两首歌曲之一。)

小结以及未发行的录制曲目的信息
将12分22秒的Due pezzisacri加入到LP/ CD后出版的音乐总计66分40秒。未发行的曲目,只算那些听得见但不反复的,有46分30秒。因此我们可以加总得到2个小时不到的音乐,当然这里不包括非莫里康内的音乐。鉴于这位作曲家录制的曲子总是远远超过使用的,而且主要主题音乐通常有几种变化,并且总要比在电影和光碟上听到的多得多,我们可以推测他写了超过2个小时的音乐,说2小时30分钟或2小时45分钟或许更合理点
虽然因题材所需比较学院派,没有大的新奇,但是它内容紧凑,在冥想,史诗,庄严方面变化多端,是一场愉悦的听觉享受。I promessi sposi的音乐可以和Tredonne, Marco Polo相较(共同之处是卓越的女低音吟唱)。还可与Secret of the Sahara一比,如果只能和拥有大量经典配乐的同类电视短剧系列配乐相比的话。
在写这篇文章的时候,我有了个主意就是附上音乐,让想要了解这些未发行乐曲的收藏者更感兴趣一点,尽管曲子有时还有杂音(但是已经去除了冗长的对话)。
两个rar格式的文件,可供下载。您需先下载解压软件(免费),比如:http://download.cnet.com/WinRAR-32-bit/3001-2250_4-10007677.html?spi=85b87ce63f4fae275d1089ac7f2cdfe9)。然后,您可以点击以下两个链接来下载文件。

第一个链接是莫里康内的未发行作品:
https://docs.google.com/file/d/0B0ZW0ql7kvdnZ3pKcTlOcUtnenc/edit?usp=sharing

第二个链接是非莫里康内作曲的作品:
https://docs.google.com/file/d/0B0ZW0ql7kvdnYjJGNnVYZnJObjQ/edit?usp=sharing

最后,您可以从rar格式的文件里将mp3解压出来,播放及烧录光碟。

好几首乐曲因为在电视剧里的不同演奏所以会听到好几次,四首主题音乐录制了两次,分别是:开场的新主题"chase"(58秒),录音一开始就出现,之后以一个更长的版本呈现(1分52秒);拥有全新前奏的I promessi sposifor弦乐和女低音版本(出现在短剧系列的两头);同上主题但只有弦乐的版本(1分23秒);以及它的精简版(28秒),在另一个时间出现,使乐曲选择更具多样性。还有这些曲目和电视剧里听到的一样,比如Arrivo dei lanzi就没有打击乐演奏。这些曲目按时间先后顺序排列,只有少数几首位置有所变动。
 
译者注 为了读者方便,以下列出人名的原文及中译文
Carlo Rustichelli----卡罗 罗斯提切利
Fiorenzo Carpi -----菲奥伦佐斯 卡尔皮
RAI Uno ---------雷 欧诺
Allessandro Manzoni---亚历山大 曼佐尼
Renzo Tramaglino----伦佐 特拉马格里诺
Lucia Mondella-----卢西娅 蒙德拉
Randy Quinn ------兰迪 奎因
Delphine Forrest----德尔菲娜 福雷斯特
Don Rodrigo ------唐 罗德里格
Gary Cady--------加里 卡迪
Don Abbondio------唐 阿邦迪奥
Alberto Sordi------阿尔伯特 索尔蒂
Agnese ---------阿格尼丝
Cristoforo ------克里斯托弗
Franco Nero ------佛朗哥 尼禄
Gertrude --------格特鲁
AntonellaElia -----安东内拉 埃利娅
F. Murray Abraham ---F 默里 亚伯拉罕
FederigoBorromeo ---费德里戈 鲍罗麦欧
Burt Lancaster ----伯特 兰开斯特
Salvatore Nocita----萨尔瓦托雷 诺斯塔
PieroPiccioni -----皮耶罗 皮乔尼
Egidio ---------埃吉迪奥
Sergio Miceli------塞尔吉奥 米塞利
D. Renzetti ------D.伦泽蒂
Henry Dumont ------亨利 杜蒙
John F. Wade ------约翰 F 韦德
Jacques Arcadelt----雅克 阿卡德尔特
Maria Monti-------玛丽亚 蒙蒂
 
 
向志愿者王红梅朋友致敬!
02-附 文章原文
I Promessi Sposi
A Masterpiece for a Classic
by Patrick Bouster
I promessisposi (The betrothed, Les fiancés), one of the most important Italian novels, has been adapted for cinema and TV a lot of times. After 3 silent films, films versions date from 1941, and 1964 (music by Carlo Rustichelli). Odd and curious to guess how such a big story could be summarized in 2 hours. The TV versions are only two : those from 1967 (music by Fiorenzo Carpi) and the one commented here, broadcast by RAI Uno in 1989.
The Italian Allessandro Manzoni (1785-1873) saw all the troubles and changes of the new and epic century, since his Paris period in 1805 onwards and his marriage in France with a Swiss woman. He remains a moderated man, although his participation and support for the Italian movement of political change, by his work and his influence in the society, similarly to Verdi. They had other common points together, including the knowledge and the taste for France and French language, as often for Italian artists and cultured people had, until the 20thcentury. And as this other great Italian artist of the same romantic period, he was put in the list of respected personalities to be "senator", in 1870 when the new Parliament had the duty to confirm the unification and to begin to concretely organize it.
After the first version of the novel (called "Fermo e Lucia"), he wrote the final one, published around 1840, in a popular but cultured language from the Toscan region which became, partly thanks to the writer, the Italian language. And also because of its novelty - speaking about simple people -, it made the genre more modern, with details of the real life of a past century, for the audience of the "Risorgimento" (period of revolts and civil wars going towards unification of Italy, with important and unequal leaders as Garibaldi, prime minister Cavour, Mazzini).
Manzoni implied that he told in another form a real chronic of the Milan region transcribed by an anonymous author. He above all wanted to put some pedagogy of the Christian values (now forgotten, they could mean nowadays moral, ethic ones), to demonstrate that evil actions will always be punished and the "pure heart" people will always save themselves. But this happens only after a long course, a sort of initiatory quest, illustrating a certain philosophy of life. So the characters represent life in the possible actions and events, often not wanted, into the troubles.
The complicated plot (told in 38 chapters) located in Lombardia (Milano region, as Manzoni's childhood), near the lake of Como (Lago di Como) around 1630, is settled during the Spanish domination. Renzo Tramaglino and Lucia Mondella (Randy Quinn, Delphine Forrest) decided to marry, but a little Lord, Don Rodrigo (Gary Cady) wants to catch Lucia for his personal desire and forces the not courageous priest Don Abbondio (Alberto Sordi) to not celebrate the marriage. The young betrothed then leaves the village to escape and Lucia, with her mother Agnese, helped by the monk Fra(tello) Cristoforo (Franco Nero) enter a convent in Monza. Gertrude (AntonellaElia), the so-called "monaca di Monza", Mother (head) of the convent, takes Lucia under her protection. With flashbacks, we learn her difficult childhood with a forced engagement as a nun, and the way she became later with ambition and hardness the Mother of the convent. Episodes of Gertrude's life and other nuns are also shown in their hidden aspects (strict discipline, sex, domination, ...).
In the meantime, Renzo goes to Milano to get some help, with some naiveness.

Lucia is kidnapped by "L'innominato" (F. Murray Abraham, always perfect in ugly roles), a dark leader full of violence, as Rodrigo asked him. Very soon, Renzo becomes unsure, tormented and full of remorse towards Lucia and lets go this angel. Meeting the Cardinal FederigoBorromeo (the great Burt Lancaster in one of his last roles), he regrets his past actions, asks forgiveness and publicly announces his decision to change his life.

In Milano, Renzo is caught in the middle of a revolt and crowd movements caused by the lack of food and the war episodes. Without his consent, he is taken as one of the revolts leaders and is forced to leave. The region is now devastated by war and illness ("La peste" = plague). Returning to Milano, Renzo finds his promised at a sort of health center of the period ("lazaret"), where Fra Cristoforo works for the numerous ill people. Don Rodrigo is there, dying.

After such an amount of troubles, the betrothed can finally marry.

For this mini-series in 5 episodes of 1H35 each, RAI Uno called Salvatore Nocita. Born in 1934, unknown director of numerous documentaries and TV mini-series, his first direction is ... I Nicotera(1972, scored by PieroPiccioni, with 2 songs arranged by EM). Well shot and photographed, the film presents a credible historical setting, helped with excellent actors' perfor-mances, never sounding artificial. The mini-series has never been released on DVD so far. But some good portions can be found on the net, especially on Youtube and Rai for school purposes. You can find and select in the menu several chapters like this one: http://www.raiscuola.rai.it/articoli/i-promessi-sposi-renzo-nei-guai-cap-xiv/3988/default.aspx.

For Manzoni's saga, Morricone wrote a lot of themes, well featured in the FonitCetra/Rai Trade LP/CD. He wrote a symphonic music with some choir pieces, in a classical style, but still used soloist instruments and atmospheres to express the fatality and the weight of the troubles of this long story. Note that these pieces are not heard : Gertrude, La peste (in its disc featuring), Don Abbondio, L'azzec-cagarbugli, Violenza e saccheggio, Lucia. As often, the disc marks the revenge of the music composed for the film, in featuring a good part of unheard, or very partially heard, tracks such as the excellent and powerful La rivoltadel pane.

Almost each main character has his/her own theme: L'innominato, Don Abbondio, L'azzeccagarbugli, Fra Cristoforo, and Gertrude/La monaca di Monza even has two. On the contrary Renzo or Lucia doesn't have any personal original theme. But we can maybe understand it, since we have in I promessisposia general one, because their actions and situations have big influence in the whole story (reinforced by the fact that the track Luciais based on this first theme, not a separate one). Don Rodrigo is too weak to have the honor of a theme : only incidental and tension music. For the main titles, I promessisposiis edited in a shortened rendition, while Addio Monti functions as end titles music. The latter illustrates also some transitions scenes in which the lake of Como is crossed by Renzo or Lucia, evoking calmness and immobility (central picture of the disc cover). Monti is not a person, as the title erroneously suggests: Manzoni wrote "Addio ai Monti" (Farewell to the Mounts).

Nevertheless, some more and less interesting music is missing. After the unfair mixing in Marco Polo, the music is here better featured, more respected by the dialogues and noises.

Variants of published themes

The main theme, as a general one both for the story and for the betrothed, has without surprises the biggest number of arrangements, as Marco Polohad, and with the alto again.

We notice it first when Rodrigo's men search for Lucia in the laundry where she works (2'10),a very nice version for strings and alto solo, majestic after a new intro. Fortunately, it has a complete appearance at the end for the numerous dead from the plague (2'32).

A version for strings only has two different appearances: one, heard a couple of times, for orchestra, very nice and solemn (1'30); the second one, short but not truncated, for strings, sweeter and working as a transition, heard at least 4 times (0'28).

A solo alto version illustrates an entertainment scene, so almost a source music (2'03). It seems to be a logic choice because at this moment, Renzo arrives and joins temporarily Lucia around the middle of the story.

Finale, on the Fra Cristoforotheme, has a close variant : the choir begins sooner, and maybe with other differences, it makes a different impression compared to the original.

Four discreet arrangements change a lot La monaca di Monza's theme: a romantic solo violin for an intimate meeting, a hardly hearable excerpt of a version for mandolin and strings, another slow and sad version for mandolin and strings as a first part of the new theme at strings for a sex scene, and a short one with strings, when the man entered in the convent, hurt the nun after the sex scene mentioned above. It proves that there were much more other complete versions than the two published ones.
Arrivodeilanzi, well heard in several portions (soldiers scenes), is sometimes featured without percussion.
But the most curious is La Peste, absent in its disc form, but adapted for scenes with Rodrigo's men and some others describing the plague. Only the scansions are present, the treatment is similar but not identical, and the track has its real end at 0'39.
Popular and source music
These tracks, more anecdotical and lasting less than 1 minute, still bring novelty and variety to the whole soundtrack.Renzo travels a lot and meets many people during the story, so there are many crowd scenes where street and popular music is heard.
In episode 1, Renzo's fugue has three tracks (of 0'30 each), one for flute and guitar when he is in the middle of the market, one for guitar solo in the inn (surely a part of the same track) and one for mandoline, when prostitutes are seen. Later, a sort of carnival in a crowded street presents a mix of different music, opened and closed by a classical fanfare piece: a solo violin soon covered by typically public feast music with flute, percussion and so on (around 1 minute).
More interesting is the violin solo music in episode 2: entertaining, on a new theme, they are in the same ancient style (0'58 and 0'29), clearly one single track.
Episode 5 features the best and the biggest number of tracks with firstly another, different, solo violin in 3 parts, as street music, more 19th than 17th century, very nice (the whole 1'35). A feast is illustrated by a carnival music, nothing special to report (0'34 listenable).
New themes
The melodic ones

Episode 1 begins immediately after the titles with the first unreleased track for an attack by horse riders, the men of Don Rodrigo against a woman, defended by peasants (0'58). This buoyant theme for strings is reprised later but in the same episode, in a longer shape, when the same team hunts a wild boar. Another featuring of it is even heard but covered by many noises.

Immediately after the first track, the men enter a laundry, in order to search for Lucia, on behalf of Rodrigo. Slow strings illustrates this search, before Lucia appears on the Ipromessisposi theme.

Don Abbondio, witness of the very first attack scene, comes back at home with some fear, accompanied by a strings track.

When Renzo goes to meet the priest for his wedding preparation, a solo guitar is heard.

When Brother Cristoforo is admitted as a monk, a classical style music illustrates it. It could have been doubtful that Morricone wrote this piece but since it is similar to pieces from El Greco, it is by his hand (confirmed by a well-documented Italian correspondent). In the scene at the convent just before, watching Cristoforo behind Jesus' cross, a short strings track is heard, more suspenseful.

A short track, a transition on loud strings treatment is similar to the strings treatment of a theme from La battaglia di Algeri.

New themes are linked though to the serious, frustrated and unfathomable Mother of the convent, played by the pretty Antonella Elia, whose beauty makes understand she didn't have any choice in her life. Since Gertrude, one the most magnificent pieces of the CD, is curiously not used, her scenes are mainly illustrated by austere religious choirs (not by EM, see below), tension music and versions from La monaca di Monza.

In the 3rd episode, she has a nightmare: menacing strings (1'16). In a following sequence, Gertrude has sex with a man (Egidio) entered in the convent. We have here a rather long track (2'34) introduced by the more sad variant from La monaca di Monza (mentioned in published themes), one of the nicest discoveries. The sinuous strings, though not featuring a real theme, present an interesting and elaborated development, by luck clearly heard.

Later, in the 4thepisode, a scene in which Renzo hides himself in a factory makes hear a flute track and mandolin, so almost a source music but without seeing the players, probably a part of a whole piece of source music (see above). A second little motive for xylophone is heard when Renzo walks on the streets in the 4thepisode, again almost a source music.
At the end, when the plague infects numerous people, two scenes featuring Don Rodrigo have new music: he is dying on an atmospheric music (1'21), and soon he has hallucinations, with different music but in the same haunting vein (0'57). Just after, for the dead people of plague, a slow new theme introduces I promessisposifor alto and strings. And at last, when Renzo is at the "lazaret" and sees Don Rodrigo dying, he takes his hand and a short sweet track is heard, more an introduction than a theme.
 
 
Incidental and suspense music
Several strings scansions are perceived here and there, but they are short and of course anecdotic, for punctuation effects. Longer tracks again for strings used the same way to underline some tension or to insist with large scansions, not important either.
Fra Cristoforo fencing with one of Rodrigo's men has a strident strings track. Noticeable are two other strident treatments, with electronic effects, because they recall Fat man and little boy's tension tracks. No surprising : the year is the same, 1989.
Tracks for L'innominato
He has a lot of scenes in the 4thepisode, always illustrated by dark music. He often decides and stays alone. But before, in the 2ndepisode, he searches for a man and asks his men to catch and kill him: percussions, menacing strings. We have in the 4thepisode, firstly 3 incidental tracks of about 0'40 each, including the Fat man ... similar treatment. His entire "torment and remorse" scene contains the main unreleased piece (3'04), in two parts: unquiet strings (1'28), and a part for percussion with suspense strings, partly reprised at least 3 times elsewhere, including the scene in which he declares publicly that he regrets and menaces to kill himself with a knife.
Dies iraein a nice arrangement for choir, percussion and bells marks his spiritual change at this step, just before meeting Cardinal Borromeo.
More music
Two more pieces from the mini-series were not used and published later as concert music: Due pezzisacri. They were finally not used by the director as "too difficult", which makes a good part of Morricone's collectors smile, having heard much more difficult/painful soundtracks from the Seventies to the Nineties!
The first piece (I. Circumdederunt me fluctus mortis) has been published in Pasolini, un delittoitaliano(1995) as the well-known Requiem, and was used as a basis of a good number of tracks of this film, and later for 3 tracks from Karol, un Papàrimastouomo.
The second one (II.Gratiasagite Domino), less dark, evokes some fatality, desolation but invites to calmness.
 

So both two tracks are indeed a nice addition, well-worthy to belong to a Morricone collection; and can be found together in the CD "Percorsi" (NANS, 1996) and the 2CD set "The sacred and the profane" (BMG, 1999).

We learn useful information upon Due pezzisacriwith the updated appendix of Morricone's works by musicologist Sergio Miceli, in his book "La musicà, el cine" (Mitemas, Spain, 1997), translation of his "La musica, il cinema" (RicordiMucchi, Italy, 1994).After linking the pieces to this mini-series, with the precision of the director's choice, he reports EM's decision to finally add it to his concert music catalog in 1996, and not before. Furthermore, he mentions their original titles: Borromeo e L'innominato(for the scene where the evil man expresses his remorse and makes his conversion) and Finale (scenes of the lazaret, Rodrigo dying and the definitive reunion of the betrothed). Musical credits of the first performance : in Budapest by Sinfonia MAV (09/18/1990). EdizioniSuviniZerboni's website mentions a later concert in Roma at the Basilica S. by Orchestra e coro del teatrodell'Opera conducted by D. Renzetti (11/16/1996).

The pieces entitled AddioMonti, Il lazaretto and Fra Cristoforohave been played in concerts. Revisions from the originals but in the same climates though, the first one was released alone in 2003 (Arena concerto CD and after) and the second one on the theme La peste, took part of the Rome concerts of 2006 in a suite of the whole 4 themes cited here (La miamusica 6CD box, 2008). Note that La Peste/Il lazarettocould have been, with its impressive, haunting climate and slow-paced tempo, a "Terzopezzosacro"! The concert version of Fra Cristoforo, in the original orchestration, only presents a slower performance. But a new piece was discovered as Inlectulomeo. Credited in the end titles to Henry Dumont (1610-1684), it is sung in the mini-series by a female-only choir. Thus, the concert version, for mixed choir, is a new arrangement.
The non Morricone music
Several religious pieces for female choir are credited in the end titles:
-In lectulomeo, in two scenes linked to Gertrude.
-Adestefidelesby Henry Dumont, after Christmas chant of St Bonaventure, XVIII° century, John F. Wade.
-Ave Mariaby Jacques Arcadelt (1504-1568).

The 2 last ones are hardly recognizable in the series, but, apart from Inlectulo ..., 4 choir pieces are heard. The credits mention : "Cantiliturgicieseguiti da Insiemevocale da camera ad eporedienseanonymi Cantores di Milano".

The credits mention : "Cantiliturgicieseguiti da Insiemevocale da camera ad eporedienseanonymi Cantores di Milano".
Other liturgical music: one for a liturgic solo organ, one for organ and then a choir.
Some profane classical music is present, first with a chamber piece for a string quartet, at Gertrude's father's home. Maybe it is what the credits mention as "Wirhaben gar keineSorgen".
Apart from popular source music by EM, three popular songs are performed a capellain the inn and outside by Maria Monti(0'30, 0'39and 0'49)Singer and actress, seen in films like, among others, Giù la testa, Cosaavetefatto a Solange, Novecento. She was involved in some other Moricone music: 4 songs arranged by EM (1960) and later sang Scappafratelloscappa, one of the two Morricone songs of Imputazione di omicidio per un studente.. She is credited : "Cantipopolarieseguiti da Maria Monti". The whole non EM music runs around 12 minutes.
 
 
Small conclusion and information about the unreleased tracks recorded
Adding the Due pezzisacri(12'22) to the LP/CD the published music lasts 66'40. The unreleased tracks, only those hearable but without the repeated tracks below, run 46'30. So we can totalize a little less than 2 hours of music, not including the non Morricone music of course. Since this composer always records much more than useful, and usually several variations for the main themes, and always more than what is heard both in film and on disc, we can guess that he wrote more than these 2 hours; 2h30 or 2h45 would be fair.
Although academic as the subject required and without big novelties, but dense, varied with meditative, epic, solemn aspects and very pleasant to listen to,I promessisposi's music could be compared to Tredonne, Marco Polo (common point: the prominent alto),and Secret of the Sahara, if the criterion is limited to his TV mini-series scores with huge amount of music that became classic.
With this article, a new idea is launched to couple it with music, making surely the whole more interesting for the collectors who wished to know the unreleased tracks, although with noise sometimes (but long dialogues avoided).
Two files are available in .rar format. You simply first have to download the Winrar program (free, like here : http://download.cnet.com/WinRAR-32-bit/3001-2250_4-10007677.html?spi=85b87ce63f4fae275d1089ac7f2cdfe9). Then, you can download the files by clicking on the following 2 links :

First internet link to download the Morricone unreleased music : https://docs.google.com/file/d/0B0ZW0ql7kvdnZ3pKcTlOcUtnenc/edit?usp=sharing

Second link to download the non-Morricone music : https://docs.google.com/file/d/0B0ZW0ql7kvdnYjJGNnVYZnJObjQ/edit?usp=sharing

Finally, you can extract the mp3 tracks from the .rar files, play and burn them.

As several tracks are listened several times in different shapes in the series, 4 themes have been recorded twice: the opening new "chase" theme (0'58), pertinent to begin the recording with, and featured later in a longer form (1'52), I promessisposifororchestra and alto with its new intro (at the two extremities of the mini-series), the same theme at strings only (1'23), and its short different version (0'28) at another moment, to make some variety and "breath" to the tracks selection. It also gives justice to the tracks as heard in the movie, as Arrivodeilanziwithout percussion. Tracks are in chronological order, apart from few ones moved.
003-参考资料 Reference
01 关于小说作者亚历山大 曼佐尼和他的历史名著”约婚夫妇“
01 About the author Allessandro Manzoni and his novel "I Promessi Sposi"
亚历山大 曼佐尼

意大利作家、诗人、剧作家。1785年3月7日生于米兰的一个贵族家庭,外祖父贝卡里亚是著名的启蒙主义思想家。曼佐尼从小受到启蒙思想的熏陶。1805年前往巴黎居住,受到进步的哲学思潮和浪漫主义文学的影响。他的历史小说《约婚夫妇》是意大利最重要的浪漫主义作品,为意大利历史小说的发展奠定了基础。

社会评价 曼佐尼生活和创作的年代,正是意大利遭受奥地利奴役、封建君主实行割据的黑暗时期,争取民族独立、统一和自由的民族复兴运动出现新的高涨。浪漫主义作家采用历史题材借古喻今,歌颂爱国精神,号召人民为争取祖国解放而战斗。曼佐尼的创作体现了意大利浪漫主义的特征,同时,又把资产阶级民主思想同基督教宣扬的平等、博爱的教义融合在一起,企图以此解决民族矛盾和社会矛盾。他是19世纪意大利浪漫主义文学的重要代表。

个人作品-1《卡马尼奥拉伯爵》

历史悲剧《卡马尼奥拉伯爵》(1816~1820)以15世纪威尼斯和米兰战争期间发生的真实事件为素材,描写农民出身的卡马尼奥拉屡建战功,被擢升为统帅,最后却成为封建君主政治阴谋的牺牲品。作者指出封建君主的内讧是意大利民族蒙受灾难的祸根。阿德尔齐(1822)取材于8世纪法兰克王查理大帝对伦巴第的入 侵,谴责异族统治,指出被奴役的人民不能期待侵略者恩赐自由。这两部悲剧也宣扬了基督教教义。

个人作品-2 《约婚夫妇》

历史小说《约婚夫妇》(1821~1823)是意大利最重要的浪漫主义作品,描写17世纪西班牙统治下农村青年伦佐和鲁齐娅的遭遇,借以表现19世纪上半叶奥地利奴役下意大利人民的悲惨处境。

乡村纺织工人伦佐和露琪娅互相爱慕,订了终身,即将举行婚礼.当地大寨主堂罗德里戈一心想霸占露琪娅.他使用各种手段不许他们的婚礼办成.伦佐被迫亡命异乡.露琪娅在母亲安妮丝的陪同下,经人介绍,悄悄来到蒙扎城的修道院避难.堂罗德里戈岂肯罢休,忙派手下的人到山寨劫持露琪娅,企图迫使她就范.这个大寨主对自己过去的罪恶生活十分悔恨,而且又被露琪娅无比纯洁、高尚的品德所感动,终于幡然悔悟,改邪归正.他把露琪娅护送到米兰.露琪娅向圣母许下誓愿,终身不再婚配.后来伦佐找到了露琪娅,在神甫的支持和劝说下,露琪娅终于答应了伦佐的请求,解除了对圣母马利亚的誓愿,一对有情人终成眷属.小说通过一双青年男女的坎坷遭遇,把处于内忧外患之中的整个意大利人民悲惨境况映照出来.勇敢地涉及了争取民族独立、统一和自由这一最尖锐的时代要求,使这部历史小说充溢着爱国主义激情,具有异乎寻常的现实意义.

小说抨击外来侵略者和封建贵族,提出意大利独立和自由问题,具有重大的现实意义。但小说中宣扬依靠基督教实现人的自我完善、神明将造福于人的思想,表明软弱的意大利资产阶级企图用道德感化的方法同封建贵族、教会达成妥协。《约婚夫妇》为意大利历史小说的发展奠定了基础,在它的影响下,产生了许多表达民族复兴运动理想的优秀历史小说。(百度百科

 
02 关于此片的原声音乐 About the OST
在本文的介绍中提到: 针对曼佐尼的长篇故事,莫里康内写了很多的主题曲,颇具特色地收录在Fonit Cetra/Rai Trade LP/CD里。他写了一部交响音乐,穿插了一些合唱部分,以古典风格但仍使用独奏乐器和氛围来表达死亡和这个长篇巨幅故事里的深重苦难。值得注意的是,有些作品并没有听说过:Gertrude, La peste(光碟特别版),Don Abbondio, L'azzec-cagarbugli, Violenza e saccheggio, Lucia。一如往常,光碟以电影中的复仇音乐为标志,收录了很大一部分闻所未闻,或只是部分听闻过的乐曲,比如优美和充满力量的La rivolta del pane
 
Soundtrack的截图显示Fonit Cetra共有三个版本,其目录是一样的。以下是这个版本的完整曲目
约婚夫妇 OST 曲目 (Fonit Cetra CDL 245/Fonit Cetra LPX 245)
序号 No.
乐曲名 Music
中译名
试听 Listen
在上文中的描述 Description in the article
1
I Promessi Sposi (03:18)
约婚夫妇

针对曼佐尼的长篇故事,莫里康内写了很多的主题曲,颇具特色地收录在Fonit Cetra/Rai Trade LP/CD里。他写了一部交响音乐,穿插了一些合唱部分,以古典风格但仍使用独奏乐器和氛围来表达死亡和这个长篇巨幅故事里的深重苦难。值得注意的是,有些作品并没有听说过:Gertrude(编者注:见4-格特鲁德), La peste(光碟特别版)(17-鼠疫),Don Abbondio (16-唐 阿邦迪欧), L'azzec-cagarbugli (5-讼棍), Violenza e saccheggio(8-暴力和抢劫), Lucia(15-露西娅)。一如往常,光碟以电影中的复仇音乐为标志,收录了很大一部分闻所未闻,或只是部分听闻过的乐曲,比如优美和充满力量的La rivolta del pane(7-面包和起义

几乎每个主角都有他或她自己的主题音乐:L'innominato (13-无名氏之夜), Don Abbondio (16-唐 阿邦迪欧), L'azzeccagarbugli(5-讼棍), Fra Cristoforo(3-克里斯托弗 面包和宽恕), Gertrude(4-格特鲁德)/La monaca di Monza (2和11-蒙扎的修女)甚至有两个。与此相反的伦佐或卢西娅没有任何个人主题音乐。但是,我们或许可以理解,因为我们有总主题音乐I promessisposi(1-约婚夫妇),他们的行动和情况对整个故事都有很大的影响力(从乐曲Luciais是基于这段总主题音乐,而不是单独启用一个主题可以看出)。唐 罗德里格太卑鄙不值得拥有一个主题音乐:只有附带和悬疑音乐。对于主标题音乐,I promessisposi被改编缩短了,而“告别山峰/Addio Monti"(9)作为结尾标题音乐也展现了伦佐或卢西娅渡过科莫湖的一些过渡场景,平和静止(参见光碟封面中心的图片)。Monti 不是指人而是指山 (编者注 Monti在意语中为山峰),但标题似乎使人错误地认为这是指"告别蒙蒂"。

2
La Monaca Di Monza (03:15)
蒙扎的修女
3
Fra' Cristoforo E Il Pane Del Perdono (03:09)
克里斯托弗 面包和宽恕
4
Gertrude (04:00)
格特鲁德
5
L'azzeccagarbugli (02:43)
讼棍
6
I Lanzichenecchi (02:20)
打手
7
La Rivolta Del Pane (05:37)
面包和起义
8
Violenza E Saccheggio (03:05)
暴力和抢劫
9
Addio Monti (03:35)
告了山峰
10
Fuga Di Renzo (01:25)
伦佐逃离
11
La Monaca Di Monza (03:05)
蒙扎的修女
12
Lovati (01:00)
洛瓦蒂
13
La Notte Dell'innominato (03:05)
无名氏之夜
14
Arrivo Dei Lanzei (02:16)
兰泽到达
15
A Lucia (02:30)
露西娅
16
Don Abbondio (04:43)
唐 阿邦迪欧
17
La Peste (04:43)
鼠疫
18
Finale (01:25)
终了曲
 
03 由原作者提供下载的音乐
03 The downloaded music provided by original author
编者注:下面两个表格列出的乐曲是按照原文作者提供的两个链接下载的乐曲。共计57+10=67首(原件均为256K Mp3格式。此处提供试听的是20K WMA格式)这些乐曲只有编号没有曲名。从其内容来看应是从视频中提取出来的音乐(不少伴有对白的人声)由于原文并没有明确的指出这些音乐和文章对照的关联,因而此处只能将原曲及其时长一一列出。更多的对照只有请读者自行研究了。
以下是由该文作者提供的第1个链接下载(莫里康内的未发行作品)的全部音乐

From the first link ( the Morricone unreleased music)provided by the article's author

序号 No.
乐曲名 Music
时长 Time length
试听 Listen
序号 No.
乐曲名 Music
时长 Time length
试听 Listen
序号 No.
乐曲名 Music
时长 Time length
试听 Listen
1
01
01:01
21
21
00:20
41
41
01:41
2
02
02:14
22
22
01:02
42
42
00:41
3
03
00:34
23
23
00:33
43
43
00:31
4
04
00:32
24
24
00:19
44
44
00:28
5
05
00:50
25
25
00:23
45
45
00:33
6
06
00:27
26
26
00:23
46
46
00:49
7
07
00:32
27
27
00:38
47
47
00:47
8
08
01:56
28
28
01:22
48
48
00:48
9
09
00:46
29
29
02:36
49
49
00:55
10
10
00:46
30
30
01:28
50
50
00:21
11
11
01:15
31
31
00:45
51
51
00:25
12
12
00:29
32
32
00:50
52
52
00:38
13
13
00:31
33
33
00:23
53
53
01:24
14
14
00:39
34
34
00:32
54
54
01:35
15
15
00:43
35
35
00:44
55
55
01:01
16
16
00:23
36
36
00:42
56
56
00:27
17
17
00:18
37
37
00:33
57
57
02:37
18
18
00:33
38
38
03:09
19
19
02:08
39
39
00:29
20
20
01:19
40
40
01:56
以下是由该文作者提供的第2个链接 (非莫里康内作曲的作品)下载的全部音乐
From the second link ( non-Morricone music) provided by the article's author
1
Source 01
01:46
5
Source 05
00:52
9
Source 09
00:43
2
Source 02
00:36
6
Source 06
01:53
10
Source 10
01:35
3
Source 03
00:44
7
Source 07
01:51
4
Source 04
01:00
8
Source 08
02:02
 
04 约婚夫妇电影片段 (12'42" 土豆网The clip of "I Promessi Sposi" (12'42" Potato site)
本电影概览页 NA8906    Basic view of the film NA8906
向志愿者王红梅朋友致敬!
Salute to volunteer Wang-hongmei
 
 
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