Filmography

Original work

Awards

Music online

IMDB

01 Summary

01-1-Overview

Director：Enzo Trapani

Star：Lily Tirinnanzi, Monica Vitti, Gianrico Tedeschi

Music: Ennio Morricone

Country: Iyaly

01-2-Plot

01-2-1

1960 People going, people coming, 55min: Simona Vanni recounts Italian television from the 1950s to the 1980s through those programs that, despite appearing only once on Rai's schedule, left their mark on the television genres they belong to. This episode, "People Who Go, People Who Come," features one of the first auteur efforts by television director Enzo Trapani, who would go on to be one of the innovators of Rai's variety shows. - With Simona Vanni, by Enrico Salvatori and Serena Valeri, executive producer Germana Mudanò, directed by Leonardo Sicurello (RAI)

(Original IT) 1960 Gente che va, gente che viene 55min: Simona Vanni racconta la televisione italiana dagli anni 50 agli anni 80 attraverso quei programmi che, seppure comparsi una sola volta nei palinsesti Rai, hanno lasciato una traccia nei generi televisivi a cui - appartengono. In questa puntata "gente che va gente che viene" una delle prime prove d'autore del regista televisivo Enzo Trapani, che negli anni sarà uno degli innovatori del varietà televisivo Rai. - Con Simona Vanni, di Enrico Salvatori e Serena Valeri, produttore esecutivo Germana Mudanò, regia Leonardo Sicurello (RAI)

01-2-2

1960-1962 Gente che va gente che viene (Original IT) Una delle prime "prove d'autore" del regista televisivo Enzo Trapani, che negli anni sarà uno degli innovatori del varietà televisivo RAI. Andato in onda nel 1960, Gente che va, gente che viene affronta, in ogni puntata, un tema pretesto che fa da filo conduttore per sviscerare - in modo ironico e divertente, e con l'ausilio di una brillante compagnia di attori, tra cui Gianrico Tedeschi, Monica Vitti e Adriana Asti - alcune delle più belle pagine della letteratura umoristica. In questa puntata il pretesto è "cherchez la femme" e viene rivisitato in chiave moderna attraverso le seguenti opere: "E regine di Francia" di Thorton Wilder; "Non approfondire" di Alberto Moravia; "Susanna " di Anton Cecov; " Ventotto soldi " di Labiche. (RAIPLAY)

（EN translation) One of the first "author's works" by television director Enzo Trapani, who would later become one of the innovators of RAI television variety shows. Aired in 1960, Gente che va, gente che viene (People who go, people who come) tackles a theme in each episode that serves as a common thread through which to explore—in an ironic and entertaining way, and with the help of a brilliant ensemble of actors, including Gianrico Tedeschi, Monica Vitti, and Adriana Asti—some of the finest pages of humorous literature. In this episode, the theme is "cherchez la femme" (Looking for Women), and it is revisited in a modern key through the following works: "And the Queens of France" by Thorton Wilder; "Non approfondimento" by Alberto Moravia; "Susanna" by Anton Chekhov; and "Twenty-Eight Pence" by Labiche. (RAIPLAY)

01-2-3

A revolutionary variety show that marked the history of Italian television, bringing novelties and entertainment never before seen on screen. （IMDB)

01-2-4

(Original IT) Gente che va gente che viene “Gente che va gente che viene” è una delle prime “prove d’autore” del regista televisivo Enzo Trapani, che negli anni sarà uno degli innovatori del varietà televisivo RAI. La trasmissione, in onda nel 1960, è al centro del nuovo appuntamento con “Mai + trasmessi”, con il commento di Simona Vanni, in onda mercoledì 19 marzo alle 21.10 in prima visione su Rai Storia. Franca Cancogni, Fiorenzo Fiorentini e Belisario Randone (che aveva già ideato e scritto “Il novelliere”, che mescola teatro, sceneggiato e varietà per raccontare il mondo letterario di un grande scrittore) firmano questa trasmissione che in ogni puntata sviscera alcune delle più belle pagine della letteratura umoristica. Lo fa seguendo di volta in volta seguendo un filo conduttore come escamotage narrativo in modo ironico e divertente, e con l'ausilio di una brillante compagnia di attori, tra cui Gianrico Tedeschi, Monica Vitti e Adriana Asti. In questa puntata il pretesto è "cherchez la femme" e viene rivisitato in chiave moderna attraverso le seguenti opere: "e regine di Francia" di Thorton Wilder; "Non approfondire" di Alberto Moravia; "Susanna " di Anton Cecov; " Ventotto soldi " di Labiche.（Here)

(EN) People Coming, People Going "People Coming, People Going" is one of the first "author's works" by television director Enzo Trapani, who would go on to be one of the innovators of RAI television variety shows. The show, which aired in 1960, is the focus of the new episode of "Mai + Televisivi" (Never Broadcast Again), with commentary by Simona Vanni, premiering Wednesday, March 19th at 9:10 PM on Rai Storia. Franca Cancogni, Fiorenzo Fiorentini, and Belisario Randone (who had previously conceived and written "Il novelliere," which blends theater, drama, and variety to explore the literary world of a great writer) are the creators of this show, which in each episode dissects some of the finest pages of humorous literature. It does so by following a common thread as a narrative device in an ironic and entertaining manner, and with the help of a brilliant ensemble of actors, including Gianrico Tedeschi, Monica Vitti, and Adriana Asti. In this episode, the pretext is "cherchez la femme" (Care for Women) and is revisited in a modern key through the following works: "The Queens of France" by Thorton Wilder; "Non approfondimento" by Alberto Moravia; "Susanna" by Anton Chekhov; "Twenty-Eight Pence" by Labiche. （From Here)

001-2-5 （CHIMAI)

When we find early music by Morricone, it is often in the form of arrangements. This time however, original instrumental music was located in the TV series Gente che va, gente che viene (1960). It is a series of 20 to 25 televised theatre scenes written by the likes of Anton Chekov, Eduardo De Filippo or James Thurber, grouped thematically in 7 episodes. One of them, called Cherchez la femme, has now appeared on Youtube 24 . The music is very lively and typical of the comedy music style of the time. There is a bouncy opening credits theme and a romantic waltz for the closing titles, whereas each scene is introduced by its own theme, and ends on its specific punctuation. Based on what is heard in this episode, we can estimate that Ennio wrote no more that 20 minutes of music in total for this project, directed by Enzo Trapani. This doesn't make it release material for record companies. It is nevertheless very refreshing to be able to listen to it in this form.

Worth noting is that one of the plays is Alberto Moravia's Non approfondire. It is in fact part of the Cherchez la femme episode, but was for some reason left out of the Youtube video (Moravia's name still appears in the end credits). This title was actually mentioned until now as a theatre play in Morricone's filmography, as directed by Enzo Trapani. We must now take it out, or better, redirect it to the Gente che va entry, because it was clearly referring to that version of Moravia's work. The film count realized in Maestro #15 should also be incremented by 1, but for another reason: we had considered so far that Gente che va was a TV show (like all the other entries directed by Trapani) and had therefore ruled it out, but we now know that it was clearly fiction work. The fact that an entry called TITOLI DA GENTE CHE VA GENTE appears in SIAE compensates, for this counting purpose, the absence of a release of the soundtrack. （See image below，from"Ennio Morricoen Fand Handbook" Volume 3-P188）

 

Not long ago. I received a video released by RAI, in which the host further explained the motivation and background behind RAI TV station's digital release of these rare early TV movies. Fortunately, we are now able to translate her words into subtitles through AI capabilities, which greatly helps us gain a deeper understanding of the content of these videos. Here I have selected the relevant subtitle content as follows：

002622-002639

The short play we just saw is "Don't delve too deeply", one of Alberto Moravia's "Racconti Romani" published in 1954. Performed by actors Jani Bonagula and Francesco Mule. Now we will see another sketch adapted from Anton Chekhov's comedy "Susanna", starring actors Carlo Giuffre and Lea Zopely

This fourth episode "Ventotto Soldi" appeared in Labish's comedy "29 degrés à l'ombre

29° IN THE SHADE A one-act comedy by Eugène Labiche (1815-1888) 5 men - 1 woman - Running time: 25 minutes. Adolphe is invited to spend a day in the countryside with the Pomadours. Wine, the heat, and a fiery temperament lead him to steal kisses from Madame Pomadour. The husband witnesses the scene and challenges Adolphe to a duel. However, Pomadour is worried: isn't he in danger of being killed? He tries to make the duel impossible, but his wife encourages this fine act of marital heroism. Pomadour will nevertheless manage to have the duel replaced by the payment of a fine for the benefit of the school, while his disappointed wife bestows upon the handsome Adolphe a tender attention, promising future misfortunes. (Here)。（01， 02， 03）

Au Théâtre de la Tempête, Pierre Pradinas met en scène deux pièces en un acte d’Eugène Labiche (1815 – 1888), « 29 degrés à l’ombre » et « Embrassons-nous, Folleville ! ».

Les quiproquos, actions entremêlées et autres fougues littéraires font partie intégrante de l’écriture de Labiche, et particulièrement dans ces deux vaudevilles… Les personnages vont et viennent, victimes d’histoires qui, à premières vue n’ont rien de drôle, mais tournent inéluctablement à la dérision faute d’individus raisonnables pour sauver le sérieux des affaires !(Here)

Below: IMDB

03-The TV-film scene screenshot
000039
000643 1-1
000854 1-2
001743
002518 2-1
002651
002948 3-1
003242 3-2
003838 3-3
004356 4-1
004939 4-2
005116 4-3

Below: Legend

1 The earliest project to appear was the play "Stagione Shakespeare" in 1947. Morricone served as a trumpeter at the age of 19.

2 The earliest film he participated in was "Fabiola" in 1949. Morricone served as a trumpeter and may have been involved in the composition work, but there is a lack of concrete evidence

3 The earliest person to participate in arranging was the radio program of the Savina Orchestra in 1950

4 The earliest possible involvement as a composer was in the 1958 radio program 'Le Miserie di Monsù Travet', but there is a lack of concrete evidence

5 The earliest drama in which he participated as a composer was "La Pappa reale" in 1958

6 The earliest film in which he participated as a composer was "Gastone" in 1960, but it was ultimately rejected

7 The first TV movie officially confirmed as a composer's participation was the 1960 TV series "Gente che va e gente che viene" displayed on this webpage“

8 The first film officially confirmed as a composer was "Il Federale" in 1961

Of all the post-war Italian composers, Ennio Morricone is without a doubt one of the most particularly distinctive for the astonishingly unusual diversity of his output. Unfortunately, his multifaceted talent has not always had the respect it deserves, and indeed ever since the 1960's the Italian musical press, by classing him as a back who could only write music for films, has so far largely turned a deaf ear to the large quantity of music he has written for the concert hall. Performances of his music, on the other hand, have a1ways attracted a faithful following from all walks of life and of all generations. The concert-going public has long known how to appreciate and enjoy the facility with which he can handle any musical form or genre and his ability to interweave a variety of contrasting styles, and indeed concert promoters both in Italy and abroad are also showing a growing interest in his music.
Ennio Morricone’s production includes music for many different kinds of theatrical performance – for the theatre, for clubs and cabaret, for radio and for television. Indeed he has been involved with television right from the very first Italian TV broadcast on January 3, 1954 to recent large-scale productions such as Mosè, Marco Polo, La Piovra and I Promessi sposi. He has also made crucial contributions to the Italian recording industry from its very beginning and it was he who created the role of the arranger as a vital figure, and he has given many singers and song-writers the help which was to prove a decisive factor in the successes they subsequent1y enjoyed.
The fírst film to include his name on its credits was Il Federale by Luciano Salce, and Morricone’s name soon became closely linked in important artistic partnerships with Italian directors such as Leone, Petri, Pontecorvo, Bolognini, Bellocchio, Pasolini, Montaldo and Tornatore, and abroad with Polansky, De Pa1ma, Joffé, Lautner, Carpenter and Molinaro, and more recently with Rosi, Almodovar and Zeffirelli.
In addition to the stunning quantity of film music (nearly 280 scores) and the many smaller scale works for other sectors of show business, Morricone has kept up an almost continuous production of music for the concert hall. In the early years he kept these two different areas of activity completely separate, but since his involvement in the 70's with the experimental “Gruppo di Improvvisazione Nuova Consonanza”, he has started to imperceptibly merge the two areas in his research for a visionary language of synthesis.
Over the last ten years or so there has been an appreciable increase in his output of music for concert performance, and the catalogue of his published works now includes over 50 compositions. There are pieces for solo instruments (guitar, piano, harpsichord, cello, viola and tape, and flute and tape) and for a variety of chamber group combinations (trios, quintets, sextets, mixed ensemble with piano, for voice and piano, voice and instrumental group, and unaccompanied choir). Large scale compositions include the polyglot cantata Frammenti di Eros (1985) with texts by Sergio Miceli, and the Cantata per l’Europa (1988) with texts by various authors; three Concertos: for orchestra (1957), for flute and cello (1985) and for amplified classical guitar and marimba (1991); the ballet music Requiem per un Destino (1966) and Gestazíone (1980); and a variety of pieces for voices and instruments either based on religious themes or religiously inspired such as Quattro Anamorfosi latine (1990) and Una Via Crucis (1991-92) both on texts by Miceli.
Morricone was born on November 10, 1928 in a well-known quarter in the centre of Rome called Trastevere. His father, Mario, was a noted trumpeter who worked in several light music orchestras, while his mother, Libera Ridolfi, in later years set up a small textile business. It is probable that Morricone grew up in a typical working-class family atmosphere, where work and daily life were híghly inter-dependent and characterised by a dignified work ethic. Morricone was not just musically precocious – he wrote his first compositions when he was only six – but he was deliberately encouraged to develop these natural talents and he was given a training that would prepare him to take over his father's roles both at home and at work. The Morricone family was guided by a down-to-earth spirit which would have encouraged the son to follow in his father's footsteps no matter what his talents were, but having these innate talents must have made accepting this family destiny much more palatable.
Because Mario Morricone worked in so-called non-academic circles and because of then prevailing atmosphere, in the war years it was much easier to learn and practice a trade without going through formal training. Indeed there were many such talented but unqualified musicians in the ranks of many ensembles and orchestras at that time. However, Morricone's talents and interests led him to simultaneously follow two conflicting paths: he enrolled at the Music Conservatory to study trumpet with Umberto Semproni and Reginaldo Caffarelli, yet at only 14 years of age he found himself having to stand in for his father who had fallen ill. At night he worked as a young "colt” in Costantino Ferri’s Light Orchestra, and by day he studied harmony with Roberto Caggiano at the Santa Cecilia Conservatory. Caggiano was the first person to recognise Morricone’s talents and to suggest that he also study composition.
During the ten years after the end of the war, Morricone continued to straddle the conflicting paths of his early musical development. Just like any other young composer from a humble family, he was full of lofty ideals, wishing to prove his worth by setting challenging texts to music. Between 1946 and 1950 he wrote six (unpublished) Lieder for voice and piano: Distacco I (words by R. Gnoli); Imitazione (words by G. Leopardi, dated 27.11.1947); Distacco Il (words by Gnoli), Oboe Sommerso (words by S. Quasimodo); Verrà la morte (words by C. Pavese) and Intimità (words by 0. Dini). Between these pieces, “Imitazione” and “Verrà la morte” stand out for their unabashed and compelling lyricism.
Self-effacing yet pragmatic, canny yet sincere – these are the personality traits that made Morricone the man and musician he is. His teachers (Carlo Giorgio Garofalo, Alfredo De Ninno, Antonio Ferdinandi and Goffredo Petrassi with whom he got his diploma in 1956) often didn’t know what he was up to outside of their lessons: he played in a light music orchestra; at the Teatro Eliseo he played in the off-stage band of Renzo Ricci and Eva Magni's Shakespeare season, for which he was also later asked to write some brief interludes for trumpet and percussion. This may well have been his first commissioned work. During 1953 and 1954, along with Firmino Sinfonia, Aldo Clementi, Domenico Guaccero and Boris Porena, he followed Petrassi’s composition class for which he composed a Sonata for Brass, Timpani and Piano (one of the first pieces he still acknowledges). In the same period he was put in touch with Gorny Kramer and Lelio Luttazzi who asked him to arrange some medleys in an American style for a radio broadcast they were preparing. This was Morricone’s first job in what was to become a fervent but clandestine career as an arranger.
At the Conservatory he also took courses in choral music, choir conducting, and in wind band arrangements. Just as he was coming to the end of his studies he began to get work as an arranger for the principal light music orchestras of the RAI Television, working in particular with Armando Trovajoli and Carlo Savina. This and other work with the RAI led to his involvement in the first successful post-war radio broadcasts and with the birth of television, including such historic programmes as Gente che va, gente che viene, Il Giornalaccio and Studio 1. Around this time Morricone also won a contract with RCA Italiana and soon became a key figure in the rapidly expanding Italian recording industry, distinguishing himself for his originality and contemporary style. An excellent example is the beautiful arrangements he wrote for the singer Miranda Martino, which are full of ironic allusions to classical music. In fact his contributions to both the recording industry and to television and film have been so far reaching that in any hypothetical analysis of the history of the relationship between music and the mass-media, Morricone would undoubtedly emerge as one of its most symbolic and all-embracing figures.
A glance at the list of works written between 1954 and 1959 shows that the eclecticism found in his light music is equally pervasive in his other work. In this period he wrote a host of chamber and orchestral pieces: Musica per archi e pianoforte (1954); Invenzione, Canone e Ricercare for piano; Sestetto for flute, oboe, bassoon, violin, viola and cello (1955); Dodici Variazioni for oboe d’amore, cello and piano; Trio for clarinet, horn and cello; Variazioni su un tema di Frescobaldi (1956); Quattro pezzi per chitarra (1957); Distanze for violin, cello and piano; Musica per undici violini; Tre Studi for flute, clarinet and bassoon (1958); and the Concerto per orchestra (1957, dedicated to Petrassi). Unfortunately the pressure of work on other fronts led to a major hiatus in his composition of music for the concert hall.
Up until the late 60’s there had always been a seemingly unbridgeable divide between his commercial and non commercial music. Yet in the following decade new elements began to emerge in his work, symbolising an attempt to bridge this gap. He drastically curtailed his work as an arranger, and works such as the Requiem per un Destino (1966) and the Caput coctu show (written in 1967 on a difficult text by Pier Paolo Pasolini) reveal a forward looking if not strictly linear development. This evolution continues progressively through Da molto lontano (1969) for soprano and five instruments, Suoni per Dino for viola and two tape recorders, to Immobile (1978). Furthermore a few pieces originally written in the mid 60’s for the cinema were rewritten to be performed as concert pieces, and several other pieces originally intended for the concert hall were reworked as film scores. This is not a merely casual recycling of ideas and materials of the type commonly exploited by composers in the past, for if we look at the music for Pasolini’s “Teorema” or for Petri’s “Un tranquillo posto di campagna” (both made in 1968) we find that for these films Morricone’s style has radically changed and that this music has been written in a severely contemporary idiom. In fact, in these films the directors themselves expressly desired to work “without compromising” and it was this statement of intent which allowed Morricone to move away from his usual role of the skilled craftsman. It is highly significant that the music for these films is remarkably similar in style to the other music he was writing at that time. It is a music which tends to be austerely programmatic, sometimes so much so that it would seem to be a deliberate act of self-chastisement. With works of the quality of Grande violino piccolo bambino and Bambini del Mondo (both written in 1979) Morricone entered his best period, a period characterised by such serenely joyful and inventive pieces as Tre Scioperi (written between 1975 and 1988 on texts by Pasolini) for a class of thirty-six school-children and bass drum; Frammenti di giochi (1990) for cello and harp; Ut (1991) for trumpet in C, timpani, bass drum and string orchestra; off-set by other pieces of scathing irony such as Epitaffi sparsi (written in 1991-92 on texts by Miceli) for soprano and piano. (See here)

About Us

Email to me

Payment

Collection Transfer

Philately

The site