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| 译者按：作者基于2000年Dagored唱片出品的11音轨《左轮手枪》原声音乐（CD
Dagored RED 112CD - Italy），写就了这篇音乐评论文章。文章短小精彩，重点突出，体现了作者资深的音乐修为。不过2006年GDM唱片发布了一个21音轨的原声音乐（CD
GDM Club 7035 - Italy），与前一版本相比，内容更加充实，其中最大的亮点是朋友（Un
amico）这支曲子增加了两个精彩的版本：短暂的，低沉忧伤的12弦吉他伴奏演唱版（音轨11）；节奏缓慢，黯然销魂的小号独奏版（音轨18）。值得对照欣赏 |
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| 1973年塞尔吉奥·索利玛导演的惊悚片《左轮手枪》（法国标题《不懈的追击》，德国标题《完美的勒索》，英语标题《街头之血》），主演奥利弗·里德在片中饰演了一名狱警，他的妻子被绑架，为了救回妻子，他不得已策划了一场暴力犯罪突围行动。这部影片拥有大批狂热的粉丝，除此之外并不广为人知。与他的西部片或浪漫片相比，埃尼奥·莫里康内为惊悚题材的配乐也许更多的是后天培养的品味，无疑它们会被如此多的人所钟爱。偶尔他也会谱写令人难以置信的具有挑战性的音乐风格，不和谐的以及正如他所说的"绝对的"音乐，而且可能是极其令人印象深刻的，不过你不会发现我会聆听它们直到永远。《左轮手枪》真的与众不同-他为这一领域作出了创新思维，并将它们转化成一个旋律，值得永久欣赏-依旧大胆有力-电影配乐（专辑）。
这张专辑事实上开启于非常动听的朋友，一支带有流行风格的美妙的主题音乐，它必定会铭刻在你的脑海当中；不过，这张专辑的"主菜"是随之而来的，一支13分钟长的动作曲目（左轮手枪），它有着璀璨夺目的光芒。棱角分明、参差不齐的圆号乐句架构在钢琴、电吉他、键盘乐器和架子鼓之上，演绎了一支一流的难以置信的不安的、难以置信的紧张的剧情动作音乐。莫里康内曾经为其他电影配乐创作过类似的东西，不过我认为它们并没有达到这样的高度。他利用不断创建的反复尝试，构成了简约主义的最高层次。事情并没有就此结束，此外-另一个甜蜜的爱的主题，安娜（带有莫扎特的一点暗示）1是一种享受；一个优美悦耳的声乐版朋友由丹尼尔·贝瑞塔在法国完成2；令人惊叹的维瓦尔第，是一个架子鼓演奏的近乎维瓦尔第3，含有一些简短的动作主题重奏；还有两支出色的充满活力的源音乐调子，极妙地命名为在酒吧和在另一间酒吧。《左轮手枪》是莫里康内的辉煌作品-没有根本性的主题，没有离奇的效应-仅有单纯的音型创意，曲目编排至臻完美。我认为这是他谱写过的最杰出的惊悚电影音乐。
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专辑曲目及信息（CD Dagored RED 112CD - Italy
- 2000）4
1/1 2:39 Un amico 朋友（器乐版）
1/2 12:50 Revolver 左轮手枪
1/3 2:11 Anna 安娜
1/4 2:34 Un ami 朋友（声乐版）
1/5 1:58 Quasi un Vivaldi 近乎维瓦尔第
1/6 1:49 Pericolo per Anna 危险，安娜
1/7 3:44 Inseguimento e fuga 追击与逃亡
1/8 2:26 In un bar 在酒吧
1/9 2:31 Rapimento 绑架
1/10 2:11 In un altro bar 在另一间酒吧
1/11 2:34 Un amico (synth version) 朋友（合成乐器版）
作曲，编曲：埃尼奥·莫里康内
歌词：阿尔伯托·贝维拉夸（Alberto Bevilacqua，《卡里夫女人》的导演）
歌词：德萨热（Desage）
指挥：布鲁诺·尼可莱（Bruno Nicolai）
演唱：丹尼尔·贝瑞塔（Daniel Beretta）
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Revolver
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Composed by Ennio Morricone
Dagored / 2000 / 37:10
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| Sergio
Sollima’s 1973 thriller Revolver starred Oliver
Reed as a prison officer whose wife is kidnapped,
and who has to organise the breakout of a violent
criminal in order to get her back. It’s got quite
a cult following, but outside that isn’t especially
well known. Ennio Morricone’s work in the thriller
genre is perhaps more of an acquired taste than
his westerns or romances, which are of course beloved
by so many. On occasion he has written unbelievably
challenging music for the genre, dissonant and as
he would say “absolute”, and it can be remarkably
impressive but you wouldn’t find me wanting to listen
to it in a million years. Revolver is very different
– he takes ideas from that realm, but turns them
into a melodic, always-listenable – but still hard-hitting
– score (and album). |
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It
actually opens with the very pretty “Un Amico”, a beautiful
theme with a pop flavour that certainly sticks in the
memory; but the album’s pièce de resistance is what
follows, a 13-minute action piece that dazzles with
its brilliance. Angular, jagged horn phrases sit atop
a bed of piano, electric guitar, keyboards and drums
for incredibly taut, incredibly tense dramatic action
music of the highest calibre. Morricone’s written similar
stuff in other scores, but not quite on this scale,
I don’t think. The use of the ever-building repeated
figure is minimalism of the highest order. Things don’t
stop there, either – another sweet love theme, “Anna”
(with a hint of Mozart) is a treat; a sweet vocal version
of “Un Amico” performed in French by Daniel Berretta;
the breathtaking Vivaldi-with-a-drumkit “Quasi Un Vivaldi”;
a couple of briefer reprises of the action theme; and
a pair of brilliantly dynamic pieces of source music,
the wonderfully-titled “In Un Bar” and “In Un Altro
Bar”. Revolver is Morricone brilliance – no sweeping
themes, no quirky effects – just simple ideas, executed
to perfection. I think it’s his finest thriller score.
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