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迪迪埃 图努斯的最新创举-3

《Metropolis / 大都会》
20220606 最新动态: Didier Thunus 为无声电影重新配乐的第3部作品已在YT发布
时隔一年之后,我们很高兴地又看到迪迪埃的第3部电影音乐作品发表
这次发布的作品至少呈现出两个特点:1. 选用的无声电影是一部更加贴近现实,具有历史里程碑意义,被称为默片时代有史以来最宏大的电影,定位于预言百年之后(2027年)人类社会的德国科幻电影《大都会/ Metropolis》(参见这里这里)2. 配乐更为成熟,活跃,旋律,配器,音色,节奏以及传承的信息更为多样化。如果仔细欣赏,您一定会得出自己的结论
和我们大多数人一样,迪迪埃是一位业余的莫里康内爱好者。但他是一位资深并有许多成就的爱好者。更令人起敬的是,近十年以来,他开始了自己成为一位作曲家之路。我们很有幸亲眼看到他的一件又一件音乐作品面世,有机会亲耳聆听,亲自评论以及和他讨论这些作品。使我们的爱好范围更加开阔,内容更加丰富。让我们共同祝愿这位胸怀宏图,孜孜不倦的朋友,尽情发挥自己的音乐天才,终极登上那宏伟的高峰,
00:02:01/02:23:21
为了大家的方便,您可以在下面从本站观看这部电影《Metropolis / 大都会》(中码率)
1927年无声电影《Metropolis / 大都会》 2022年由迪迪埃 图努斯重新谱曲并模拟配乐 时长 143'21"(如果您的手机浏览器不能播放,请在电脑上观看。您也可以右击这里下载这个视频然后自行播放(MP4格式 398M))
如果您可以打开YT,您可以点击这里直接进入YT的窗口观看。更欢迎您在那里为迪迪埃朋友留言点评
迪迪埃对于为此片重新配乐所做的说明(原文及译文)

Fritz Lang's Metropolis is the undisputed reference of German expressionist cinema, and a worldwide classic that established many practices in filmmakingfor decades to come. Born as the most expensive and most ambitious project of the time, it held on to its promises by delivering a bigger-than-life portrayal of its class warfare plot.
Restored to its original length in 2010, after having been shown around the world in a heavily truncated version, it now lasts 2h20 and presents the full narrative as originally intended by its authors. The original score had been provided by Gottfried Huppertz, composed for a large orchestra and drawing inspiration from classical music. It was used for the film's premiere and later for the restored version. Meanwhile, many attempts at rescoring the movie have been made.
The present version aims at providing a more varied musical counterpoint, inspired by the masters of film music who have transformed in the meantime the way movies had to be underscored. Owning to the long runtime, the right compromise had to be found between the repetition of the main themes and the novelty that would keep the appeal intact throughout the movie, as well as between a consistent soundscape and the need for varying the orchestrations. Note that if the score may sound anachronic with regards to the period when the movie was made, it is not necessarily the case with respect to the time when the action is supposed to take place.

弗里茨·朗的《大都会》是德国表现主义电影无可争议的代表作,也是一部全球经典之作,在它未来的几十年中确立了许多电影制作实践。作为当时最昂贵、最雄心勃勃的项目,它坚持自己的承诺,为自己的阶级斗争情节描绘了一幅超乎现实的画面。

2010年,在全世界以大幅删节的版本放映后,该剧恢复到了原来的长度,现在持续2 小时 20 分钟,呈现了作者最初想要的完整叙事。最初的乐谱是由戈特弗里德·赫佩茨(GottfriedHuppertz)提供的,他是为一个大型管弦乐队创作的,灵感来自古典音乐。它被用于电影的首映,后来又被用于修复版本。与此同时,许多人试图重新剪辑这部电影。

现在提供的这个版本旨在提供更加多样化的音乐对位,灵感来自于电影音乐大师,他们同时改变了电影必须强调的方式。由于运行时间长,必须在主题的重复和保持整个电影吸引力的新颖性之间,以及在一致的音景和改变配器的需要之间找到正确的折衷。请注意,如果就电影的制作时间而言,配乐听起来可能不合时宜,但是就动作应该发生的时间而言,情况不一定如此。

总计40首原声音乐,下面是本站转载的全部曲目表
在本站论坛的这个页面,您可以参与留言,评论以及和迪迪埃对话
序号
电影出现时间--曲名
迪迪埃为每一首音乐所做的说明
试听
01
Metropolis #1 (Overture) (序曲)

The restored version starts with an explanation of the restoration process. This gives the opportunity of introducing the Metropolis theme in the form of an overture.
修复的版本从修复过程的解释开始。这提供了以序曲形式介绍大都会主题的机会。

02
Immineo #1 (Opening Credits) (开场字幕)

After the opening credits roll, the viewer is introduced to the factory gears and pumps under an ominous theme that develops into an orchestral outburst. 在片头滚动字幕以后,向观众介绍了工厂的设备,齿轮和泵,主题发展成管弦乐的爆发

03
The Shift #1 (Underground Workers) (地下工人)

Underground workers line up for the shift. The new team takes the lift down to the subterranean factory. The music creates a military backdrop to the orderly movements of the marching workers. 地下工人轮换值班。新团队乘电梯下到地下工厂。音乐为行进工人的有序运动创造了一个军事背景。

04
The Carefree Days 无忧无虑的日子

In contrast, the rich class is enjoying a free life of bodily pleasures such as sports and seduction. This will be the only moment of relaxed and peaceful music. 相比之下,富人阶层正在享受运动和有吸引力的身心愉悦的自由生活。这将是唯一的放松和平静的音乐时刻

05
Maria and Freder #1 (The Children) 玛丽亚和弗雷德#1 (孩子们)

Freder is interrupted in his recreation in the gardens by the vision of Maria emerging like a ghost, surrounded by children. A female voice introduces the love theme that will recur throughout the movie. 弗雷德在花园里的娱乐活动被幽灵一样出现的玛丽亚和孩子们包围的景象打断。一个女声介绍了贯穿整部电影的爱情主题。

06
The World Below 下面的世界

Fascinated by this vision, Freder tries to follow Maria and finds himself in the subterranean factory, witnessing a tragedy when the workplace blows up. The military ambience comes back and explodes as a stunned Freder has a vision of Moloch, a god to which human lives are sacrificed. 被这个景象迷住,弗雷德试图跟随玛丽亚。他发现自己在地下工厂,目睹了工作场所爆炸时的悲剧。惊呆了的弗雷德看到了摩洛神,一个献出了生命的神,军事氛围又回来了

07
Metropolis #2 (The City) 大都会#2(城市)

He runs in order to announce the disaster to his father, who is the owner of the factory. The Metropolis theme comes back on the images of the futuristic city. 他跑去向工厂老板,他的父亲宣布灾难。大都会主题回归到未来城市的形象。

08
Father and Son 父子

His father, Joh Fredersen, finally accepts to listen to him and blames his clerk, Josaphat, for not having told him about the tragedy. 他的父亲 约翰·弗雷德森最终接受了他的意见,并责怪他的职员约萨法特没有告诉他这场悲剧。

09
The Dismissal 解雇

When Grot, the representant of the workers, arrives with other bad news – the workers seem to be plotting against their superiors – Fredersen decides to fire Josaphat. The latter goes away in disarray and Freder follows him to try to cheer him up. The music captures the contrasting feelings of the protagonists. 当工人代表格罗特带着其他坏消息到来时——工人似乎在密谋反对他们的上司——弗雷德森决定解雇乔萨法特。后者在混乱中走开,弗雷德跟着他试图让他振作起来。音乐捕捉了主角的对比感受。

10
Metropolis #3 (The Swap) 大都会#3(交换)

Freder decides to take action in the defence of the workers and goes underground in order to swap places with Georgy, one of theoperativesmachinists. The latter must go hide in Josaphat's place, but gets distracted by the invitation to a party. The Metropolis theme comes back, leaving way to a party theme towards the end. 弗雷德决定采取行动保护工人并进入地下,以便与其中一名机械师乔治交换位置。后者必须躲在乔萨法特那里,但是由于被邀请参加聚会而分散了注意力。 大都市主题回归,最后留给派对主题。

11
The Mad Scientist #1 (Prelude to the Robot) 疯狂科学家#1(机器人前奏曲)

Fredersen visits Rotwang, an inventor, who appears to be trying to revive Hel, Fredersen's late wife. The gloomy music underlines the scientist's apparent madness. 弗雷德森拜访了一位发明家罗特旺,他似乎正试图让弗雷德森已故的妻子希尔 复活。阴沉的音乐突显了这位科学家明显的疯狂。

12
Futura #1 (Introductions) 弗图拉 #1(介绍)

Rotwang introduces him to a robot of female appearance, named Futura, whom he says will impersonate Hel. The electronic theme of the robot kicks in. 罗特旺向他介绍了一个名叫弗图拉的女性机器人,他说这个机器人会模仿希尔。机器人的电子主题开始了。

13
The Plan 计划

Together they scheme a plan in order to take control again of the situation underground, as Freder goes through the strains of a worker's day. The music is reflective in order to underscore the scheming, and repetitive to underline the harshness of Freder’s labour. 由于弗雷德正在经历工作日的压力,他们一起策划了一个计划,以便再次控制地下局势,音乐体现了这个策划,反复强调了弗雷德劳动的严酷性

14
The Shift #2 (Catacombs) 轮值 #2(地下墓穴)

The next shift arrives. Exhausted, Freder follows the other workers to the catacombs. The military theme is back, alternating with a softer version of it as Fredersen and Rotwang decide to find out about the workers' transgressions. 下一个轮班到了。筋疲力尽的弗雷德跟随其他工人前往地下墓穴。随着弗雷德森和罗特旺决定找出工人的违法行为,军事主题又回来了,与更柔和的版本交替出现。

15
The Prophet 先知

The workers are listening to a woman preaching to them, who appears to be Maria. She tells the story of the Tower of Babel, whose construction failed because there wasn't a mediator between the head, i.e. the leaders, and the hands, i.e. the workers. The theme is severe and develops into an ethnic recitation as a workforce is assembled to build the tower. 工人们正在听一个女人向他们讲道,她似乎是玛丽亚。她讲述了巴别塔的故事,它的建造失败了,因为在头部(即领导者)和双手(即工人)之间没有调解者。主题很严肃,并随着人们聚集起来建造这座塔而发展为异国风味的叙事

16
Echoes of the Underground #1 (The Chosen) 地下的回声#1(天选者)

A person must arrive who will play the role of this mediator, says Maria. A new emotional theme is introduced as the images allude to the fact that Freder may well be the chosen in question. 玛丽亚说,必须有一个人来扮演这个调解人的角色。引入了一个新的情感主题,因为这些印象暗示了弗雷德很可能是被选中的人

17
Maria and Freder #2 (The Kiss) 玛丽亚和弗雷德#2(吻)

When everybody leaves, Maria and Freder fall in each other's arms, with the return of the love theme. They are being observed by Fredersen and Rotwang, who decide to kidnap Maria and to give Futura her appearance. Rotwang plays the game but hides his real intentions. 当所有人都离开时,玛丽亚和弗雷德相互拥抱,爱情主题回归。 弗雷德森和罗特旺正在观察他们,他们决定绑架玛丽亚并让弗图拉出现。 罗特旺在玩游戏,但隐藏了他的真实意图。

18
Immineo #2 (Shadows and Skulls) 威胁 #2(阴影和骷髅)

When Freder leaves, Rotwang follows Maria in the catacombs and abducts her. The Immineo theme returns to underline the threat and the menace. 弗雷德离开后,罗特旺跟随玛丽亚进入地下墓穴并绑架了她。 Immineo 主题再次强调威胁和恐怖。

19
Metropolis #4 (The Monk) / Babylon #1 (The Crypt) 大都会#4(僧侣)/巴比伦#1(地穴)

Freder finds himself amongst men and women praying, listening to a monk, and is then confronted in a crypt to a representation of death and of the seven deadly sins. This piece combines the premises of the Metropolis theme with a glimpse at the Futura theme as Rotwang is seen telling the robot to destroy Fredersen, and a first version of the Babylon theme. 弗雷德发现自己置身于祈祷的男女之中,听着一位僧侣的祈祷,然后在一个地下室里面对死亡和七宗罪的再现。因为看到罗特旺告诉机器人摧毁弗雷德森,这段音乐结合了 大都会主题和弗图拉主题以及巴比伦主题第一个版本的片段。

20
The Crossover 跨界

Georgy is caught by the Thin Man, Fredersen's sleuth, who gets hold of Josaphat’s address. He visits the latter, seconds after Freder has left the place, but still discovers evidence of Josaphat, Freder and Georgy teaming up in favour of the workers. The music oscillates between menace, suspicion and scheming. 乔治被弗雷德森的侦探瘦人抓住了,他掌握了约萨法特的地址。他在弗雷德离开这个地方几秒钟后拜访了后者,发现了约萨法特、弗雷德和乔治联手支持工人的证据。音乐在威胁、怀疑和诡计之间摇摆不定。

21
Maria's Cry 玛丽亚的哭泣

Maria resists and cries as she is being taken by Rotwang for his experiment. Freder happens to be walking in the streets at the same moment, and to hear her. He locates the door of the house where she is being detained. The tense and palpitating music underscores the fight between Maria and Rotwang. He eventually benumbs her. 玛丽亚在被罗特旺带去进行实验时抗拒和哭泣。弗雷德恰好在同一时刻走在街上,并听到了她的声音。他找到了她被拘留的房子的门。紧张而令人心悸的音乐强调了玛丽亚和罗特旺之间的斗争。他最终让她昏迷。

22
Haunted House 鬼屋

The door opens as Freder is fiercely knocking at it. The music gets spooky, whereas Freder starts to explore the place, giving it the feel of a haunted house. He finally finds Maria’s scarf, but remains locked in a room. 弗雷德猛烈地敲门,门开了。音乐变得诡异,而弗雷德开始探索这个地方,给人一种鬼屋的感觉。他终于找到了玛丽亚的围巾,但仍被锁在一个房间里。

23
Futura #2 (Metamorphosis) 弗特拉#2(变形记)

Rotwang conducts its operation to give Futura the looks of Maria, as the latter lies unconscious. The metamorphosis is successful, with this ferocious return of the robot theme. 罗特旺进行操作以让弗特拉看起来像玛丽亚,因为后者昏迷不醒。变态是成功的,机器人主题凶猛的回归

24
The Mad Scientist #2 (One Last Thing) 疯狂科学家#2(最后一件事)

A door opens to Freder again and he is able to talk to Rotwang. The scientist tells him that Maria is now with Freder’s father. The spooky music is a homage to Maestro Ennio Morricone, quoting explicitly his theme for John Carpenter’s The Thing. 一扇门再次向弗雷德打开,他可以与罗特旺交谈。科学家告诉他,玛丽亚现在和弗雷德的父亲在一起。诡异的音乐是对大师埃尼奥 莫里康内的致敬,明确引用了他为约翰 卡彭特的《突变第三型》创作的主题。

25
Vision of Horror 恐怖幻象

Freder rushes to his father’s office, only to find him with Futura/Maria, whom Freder believes to be Maria. Under the shock, he has hallucinations and falls unconscious. 弗雷德冲到他父亲的办公室,却发现他和弗特拉 / 玛丽亚在一起,弗雷德认为她就是玛丽亚。在震惊之下,他产生了幻觉,失去了知觉。

26
Babylon #2 (The Dance) 巴比伦#2(舞蹈)

During a gathering of aristocrats, a dancing Futura/Maria entertains and beguiles the crowd. Her magnetism manages to drive them insane. In his healing bed, Freder has visions of the Thin Man transformed into a monk preaching the holy scriptures, and his lecture merges with the dancing of Futura/Maria. The music makes use of the Babylon theme in a rhythmic and ethnic way, and turns to a more sacred feel as the embodiments of death and the deadly sins appear in Freder’s delirium. 在贵族聚会期间,跳舞的弗特拉 / 玛丽亚迷惑人群。她的魅力设法使他们发疯。在他的康复床上,弗雷德看到瘦人变成了一个宣讲圣经的僧侣,他的演讲与 弗特拉 / 玛丽亚的舞蹈融为一体。音乐以民族节奏的方式使用巴比伦主题,并随着死亡和致命罪的化身出现在弗雷德的谵妄中而变得更加神圣。

27
Furioso 狂暴

Freder has recovered and meets with Josaphat, who tells him how, during Freder’s absence, a woman named Maria has bewildered the men to a point that they started killing each other in duels or fights. The music gets quieter but still sinister and with hints to the Babylon theme and to the party theme. 弗雷德已经康复并与约萨法特会面,约萨法特告诉他,在弗雷德缺席期间,一个名叫玛丽亚的女人如何让男人们感到困惑,以至于他们开始在决斗或打架中互相残杀。音乐变得更安静但仍然阴险,并带有巴比伦主题和派对主题的暗示。

28
The Fake Prophet 假先知

As the real Maria is still detained by Rotwang, the fake one is preaching to the workers, telling them that the chosen is not going to come after all. She gets interrupted by Freder, who claims she is not Maria. Ensues a fight where Georgy gets stabbed. The music goes from offhand to dissonant to dramatic as the plot plunges into the horror. 由于真正的玛丽亚仍然被罗特旺拘留,假的玛丽亚正在向工人布道,告诉他们被选中的人终究不会来。她被弗雷德打断了,后者声称她不是玛丽亚。随后发生了一场战斗,乔治被刺伤。随着情节陷入恐怖,音乐从随意到不和谐再到戏剧性。

29
Echoes of the Underground #2 (Death of Georgy) 地下的回声#2(乔治之死)

Georgy dies in the arms of Freder, on this repeat of the emotional theme. 乔治死在弗雷德的怀抱中,这个情感主题在重复中

30
The Revolt #1 (Swarming the Underground)

Led and perverted by Maria, the workers decide the swarm the underground in order to destroy the machines. The music creates a dark and foreboding mood through a dynamic range and dissonant harmonies, as in Prokofiev’s Dance of the Knights. 在玛丽亚的带领和误导下,工人们在地下蜂拥而至摧毁机器。音乐通过动态范围和不和谐的和声营造出一种黑暗和不祥的情绪,就像普罗科菲耶夫的骑士之舞一样。

31
The Revolt #2 (The Phone Call) 起义#2(电话)
Alarmed by the assault, Grot seeks Frederson’s help during a phone call, but in vain 格罗特对这次袭击感到震惊,他在电话中寻求弗雷德森的帮助,但徒劳无功。
32
The Flood 洪水

The machines are being destroyed, causing the city to malfunction, and giving way to floods and earthquakes. Maria, who managed to escape from Rotwang’s claws, strives to  save the children from the devastation. The music becomes overwhelming and obsessive. 机器正在被摧毁,导致城市发生洪水和地震。玛丽亚设法摆脱了罗特旺的爪子,努力将孩子们从灾难中拯救出来。音乐变得压倒性和痴迷。

33
Maria and Freder #3 (City Collapse) 玛丽亚和弗雷德#3 (城市坍塌)

As the disaster grows and Freder and Josaphat come to the rescue, the two lovers are reunited on this third version of the love theme. 随着灾难的扩大,弗雷德和约萨法特前来救援,这两个恋人在爱情主题的第三个版本中重聚

34
Tarantella 塔兰泰拉

The children and their rescuers proceed to quickly move to a higher place in order to escape the deluge. In parallel, the workers have gone completely demented as they dance in the devastated factory. Grot tries to bring them back to the reason by reminding them that their kids are in big danger. 孩子们和他们的救援人员继续快速移动到更高的地方,以逃离洪水。与此同时,工人们在被毁坏的工厂里跳舞并已经完全精神错乱。 格罗特试图通过提醒他们,他们的孩子处于巨大危险中来让他们回到理性。

35
The Party 派对

Futura/Maria managed to drive insane not only the workers but also the ruling class, now embarked in an ecstatic party, on this full version of the party theme. 弗特拉 / 玛丽亚成功地把工人和统治阶级都逼疯了。在这个完整版本的政党主题中,现在他们已经加入了一个欣喜若狂的政党。

36
March of the Dungarees 吊带裤进行曲

Grot and the workers are now marching through the city, searching for the “witch”, i.e. Futura/Maria, whom they claim is the reason for all their griefs. The music is martial and austere. 格罗特 和工人们正在城市中游行,寻找“女巫”弗特拉 / 玛丽亚,他们声称这是他们所有悲伤的原因。音乐是威严而严肃的。

37
Witch Hunting 女巫狩猎

They find Maria and start chasing her. The crowd of workers merges with the party people, and they finally capture Futura/Maria, whereas the real Maria now gets chased by Rotwang again. Action music amplifies the panic. 他们找到玛丽亚,开始追她。一群工人与党人融合,他们最终捕获了弗特拉 / 玛丽亚,而真正的玛丽亚现在又被罗特旺追赶。动作音乐加剧了恐慌

38
The Bonfire 篝火晚会
Futura/Maria is brought to a bonfire as the workers decide to burn the witch. Freder thinks she is the real Maria and tries to save her, in vain. The music is solemn and funereal. Under the effect of the fire, Futura/Maria turns back to her robot appearance, and Freder turns his attention to the top of the cathedral where Rotwang is about to catch Maria. 弗特拉 / 玛丽亚被带到篝火旁,工人们决定烧死女巫。弗雷德认为她是真正的玛丽亚,并试图拯救她,但徒劳无功。音乐庄严而带有葬礼气氛。在大火的作用下, 弗特拉 / 玛丽亚变回了她的机器人原形,而弗雷德在大教堂顶部注意到即将抓住玛丽亚的罗德旺。
39
Cathedral Fight 大教堂之战

He rushes to her rescue and fights with Rotwang. His father has now joined the crowd, but the action music turns to an engaging melody as Josaphat manages to calm them down by saying that their kids have been saved. But the fight continues and, finally, Rotwang falls to his death from the rooftop. 他冲过去营救她并与罗特旺打架。他的父亲现在也加入了人群,动作音乐变成了动人的旋律,约萨法特说他们的孩子得救了,设法让他们平静下来。但战斗仍在继续,最后,罗特旺从屋顶坠落死亡。

40
The Resolution 解决

The workers now march to the cathedral in order to demand accounts. Freder and Maria insist on Grot to make peace with Fredersen. Freder finally manages to play the role of mediator as he convinces the two men to shake hands. The music finale illustrates the reconciliation and the new harmony that will now reign over the city of Metropolis. 工人们现在游行到大教堂去索要拖欠的账目。弗雷德和玛丽亚坚持要格罗特与弗雷德森和解。弗雷德最终设法扮演调解人的角色,说服两人握手。音乐大结局展示了和解,新的和谐将统治大都会

DIDIER THUNUS
上图:迪迪埃 图努斯 (Didier Thunus)
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