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The news from Hungary
“The Demons of St. Petersburg” original Soundtrack album Limited Edition
The editor received an email from Hungarian friend Gergely on January 5,2014.
Hungarian friend Gergely's email
I recently co-produced a new album of Ennio Morricone's music - The Demons of St. Petersburg hasn't been released until now and comes out in a limited edition of 500 copies.

http://www.keepmovingrecords.com/eng/disc/53/

You can listen to excerpts from every track here:

http://www.chimai.com/index.cfm?screen=special&id=578&current=yes

Please spread the news of this release to the Morricone fans you know in China and all over the world. There are very strict restrictions that we could only press 500 copies of the album, so once it's sold out, it's gone forever.

The following is a screenshot from.keepmovingrecords
“The Demons of St. Petersburg” original Soundtrack album Limited Edition
“The Demons of St. Petersburg” original Soundtrack album Limited Edition
The film has been released in our site here. Its completed video here. Its OST album never issued. We only found its one theme music before. Now the album finally filled the gap. The following is CHIMAI news

“The Demons of St. Petersburg” original Soundtrack album Limited Edition
“The Demons of St. Petersburg” original Soundtrack album Limited Edition
“The Demons of St. Petersburg” original Soundtrack album Limited Edition
Note: The soundtrack and the scene
01 NEW ATTACK (NUOVO ATTENTATO) (2:58)

Russian author Dostoyevsky learns about an impending anarchist attack from one of his fans. Upon hearing that his novels have been formative in the philosophy of these terrorists, he feels somewhat responsible — which is expertly captured by this nervous cue.

02 PAINFUL ETERNITY (DOLOROSAMENTE SEMPRE) (2:50)

In the aftermath of a terrorist attack, a mournful theme emerges while a mother is mourning her innocent child lost in the senseless violence. It's also the perfect time for revealing the title of the movie.

03 THE PUBLISHER (L'EDITORE) (2:14)

Waiting to learn more about his supposedly insane follower, Dostoyevsky travels to an insane asylum to meet the enigmatic Gusiev. His nervous waiting in the hall is colored by this cue and the distant cry of the local inmates.

04 PAINFUL LOVE I (DOLOROSAMENTE AMORE I) (4:14)

A flashback to the past recalls Dostoyevsky’s previous run-in with the law as he got arrested due to the contents of his writings. The lengthy cue covers the author’s arrest and trial while he is forced to listen to the number of fabricated crimes he’s charged with.

05 INTERVIEW (COLLOQUIO) (3:32)

Gusiev is summoned to testify against his fellow anarchists; while the inmate tries to buy some time by pretending to be insane, Morricone’s music predicts he can’t fool the authorities for long.

06 A STORY (UNA STORIA) (3:42)

Dostoyevsky meets an inspector in order to explain his side of the anarchist plot. The discussion reveals that both men have their own methods to stop the terrorists: Dostoyevsky favors rationality while the investigator is leaning towards good old fashioned police work.

07 PAINFUL LOVE II (DOLOROSAMENTE AMORE II) (3:47)

This is Morricone's love theme for Dostoyevsky’s relationship with his stenographer, Anna. The professional relationship turns more intimate in one of the author’s more vulnerable moments when he confesses that he prefers a female stenographer to a male one.


08 IN THE UNDERGROUND (NEL SOTTERRANEO) (4:05)

Realizing that he's been fed false information in order to fool the police, Dostoyevsky tries to right the wrong with a daring escape. The action cue underscoring the elderly writer’s last attempt to stop the terrorists while jumping across rooftops is wonderfully melodramatic.

09 AFTER THE MEETING (DOPO L'INCONTRO) (4:38)

The beautiful anarchist leader Alexandra has a logical reasoning for the attacks and confronts Dostoyevsky with his own quotes in order to point out the righteousness of their mission. The tense cue underscoring the strained meeting is a wonderful expression of the author’s moral defeat.

10 SIBERIA (2:09)

Singer Paola Cecchi performs on this track while Dostoyevsky has nervous flashbacks to his times in the Siberian labor camps. Instead of depicting the harsh surroundings, Morricone focuses on the unbreakable human spirit with this music.

11 FOR THREE (PER TRE) (1:46)

The program is rounded out by one more track that seems to have been recorded for the album only (its slate number M0 indicates it had no specific place in the film).

12 PURSUED (INSEGUITO) (2:11)

The anarchists set a trap for their latest target and Dostoyevsky furiously tries to reach the intended victim before he could enter an Orthodox church already prepared for the attack.

13 THE FLAG (LA BANDIERA) (1:08)

Morricone provided original music for Dostoyevsky’s arrival to witness the anarchist plot and the nightmarish explosion of a church – but this musical highlight was omitted from the film and got replaced with Orthodox source music.

14 SHOT (FUCILATO) (4:20)

The sight of a carriage in the rain conjures a shadowy figure with suitably eerie suspense strings covering the unlikely vision. The second half of the cue is more fragmented, underscoring Gusiev’s echoing words before the writer collapses on the staircase in an epileptic fit.

15 ON THE RIVER (SUL FIUME) (4:13)

After witnessing a violent protest by the workers, Dostoyevsky gives them his piece of mind by reminiscing about his times in Siberia. The change to the flashback is underscored with a hypnotic cue that introduces the author’s darkest period in life.

16 FOR MY FATHER (A MIO PADRE) (8:44)

Dostoyevsky wanders back to his Siberian memories and recall a highly symbolic event – letting a bird of prey back to nature. The bird of freedom closes the movie as the music soars over the end credits.

Welcome the fans to purchase and collection of the precious and limited album >>>>>>
 
January 6,2014.
 
 
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