The second cue, “L’étau se resserre”, is one of the score’s ventures into more suspenseful territory, but as I mentioned, it’s never abrasive nor unpleasant. Strings play short, slightly tentative phrases, running over multiple layers, little pizzicato bursts offer some stings – it’s not anything we haven’t heard many times before from Morricone, but he does do it very well. “Ils resteront trois” is one of those Ennio Morricone pieces: a sumptuous, soaring, exquisite and unforgettable melody, from the “Deborah’s Theme” mould (without the voice). It is so fluid, so seemingly effortlessly moving – a feather on the breeze. The B-section is lighter still, warmer still. It’s just so, so beautiful.

Flashback to late 2014: I learnt through an indirect source that Ennio Morricone got a French assignment. A film taking place during WWII, more precisely at the beginning of the exodusafter the defeat of May 1940. Browsing on the internet through the future releases of the first
half of 2015, I found nothing. Around mid-January 2015, an Italian correspondent wrote to me:the Maestro recorded a new soundtrack, entitled Esodo (Exodus). We were dealing with the same assignment. And yes, it was recorded! It’s definitive and will be surely used, contrary to
Un crime (France, 2006), I thought. And consequently, Morricone’s last official French film, La cage aux folles III (1985) is finally superseded.
Planned to be released in spring 2015, the film was postponed to the autumn. If the assignment had only been done 2 or 3 months later, it is almost certain that Morricone would have declined: afterwards, there was the concert tour reprise and the Tarantino movie. A little miracle.

We will detail in a longer article the film process, with a text by Christian Carion, director, from the French press kit (see p.16), informative, different from the crossed interview between him and Morricone that is included in the CD booklet.

Christian Carion started his series of avant-premieres around mid-September 2015 and came down to more Southern territories of the country. At one of these avant-premiereq, as planned with the cinema center, I was able to obtain an exclusive interview with him (see p.19).

We will conclude with some impressions on the Quartet Records CD (see p.20).

原声音乐计划在2015年春天发布，电影将推迟到秋天上映。如果这项任务只能在两三个月之后完成，毫无疑问莫里康内一定会拒绝：不久之后，还有巡回音乐会以及塔伦蒂诺的电影。这是一个小小的奇迹。

我们会用一篇长文章详细介绍这部电影的过程，以克里斯蒂安·卡里翁（这部电影的导演）的一个专访，来自法国的新闻资料袋（参见第16页），文章内容丰富，不同于CD手册中他与莫里康内的交叉采访。

大约2015年9月中旬克里斯蒂安·卡里翁开始了一系列的首映式，并且延伸到了更多的法属南方领地。这些首映式的一项，是按计划以影院为中心上映，我可以获得他的独家专访（参见第19页）。

我们将以Quartet唱片CD的一些感想得出结论（参见第20页）。

The film

The story tells the exodus of thousands people in Northern France after the shameful and quick defeat of May 1940. So in the film settled in June, huge disorder mixed numerous destinies, including a German opposed to the Nazi regime, in search of his 8-year old son. For this “choral” film, all the actors are right, sober and intense. They carry humanity and symbolize each of us in these troubled days.

Let us affirm that we are dealing with a major film, well shot, well photographed (rather exceptional in French films by now!), taking time to install the true historical context. Born in Cambrai (North of France), Carion certainly had a special sensitivity for the episode, not wellknown into the whole WWII.

The movie has been released in French cinema theatres on November 4, 2015, with no date for
other countries yet.

It worked and caused something very strong. Eve Machuel, from the production team, then proposed to me to work with Ennio Morricone. I thought it was totally unrealistic. While I was in Lyon (France) to edit the film, she progressing on this project in Paris. And the production called me one day to tell me that an agreement with Ennio Morricone was nearly concluded, but the Maestro wanted to see me!

I was very excited, and at the same time I was anxious: how to collaborate with such a man? I went to Rome, telling to myself that the project was going to fail. And I ended up in a sublime apartment, that Morricone bought from Sophia Loren who had received it from her husband Carlo Ponti! Ennio Morricone explained to me his work method: “The directors talk to me about their films and during the script writing, I compose and then I record before the shooting and I give the music to the director. We meet again for the editing and if we need to adapt, we adapt. And that’s it.” Then I told him that one year before, I would never have imagined to ask him to compose the music.

He told me: “Now that you are here, what do you have to show me?” I had two DVDs, one containing the film edited with temp track, much of which was by Morricone but not only. The other DVD was edited without music.

I proposed to him to watch the latter, but the Maestro preferred watching the one with music. He wanted to know my tastes. We were in a room where 4 seats were installed in front of a poor TV set: for his wife, his agent, for him and for myself. I would not have been able to watch the film next to him, so I sat behind. The film started. First piece of music: The Thin Red Line by Hans Zimmer. He said: “What is that? It doesn’t work with the emotions!” He went on with some sentences in Italian the translator didn’t even translate. The film continued, in French without subtitles. He didn’t speak anymore. At the end of the 2 hours of watching, Morricone turned towards me and I saw he was moved. He himself was surprised. He told me: “The film is great and the music is very good”. I replied: “If you think I will buy the rights of Once upon a time in the West or The Good, the Bad and the Ugly, then we’d better stop here, I have a plane to take.” He laughed. He asked me to follow him to his office. In his mess of documents, he found a paper and told me that before our meeting, he had received the synopsis in Italian. “While reading it, I thought about this”, he told me as he moved to his piano. Surprised, I asked him if he was going to play. “Yes”. I stopped him: “I have to shoot this, I have to come back to Paris with your music.” He thought a bit and asked: “Personal?” I replied: “Personal!” (even if, since that moment, I showed it to many people). As from the first 4 notes, you know that you
are dealing with music by Morricone. It was a major theme for the movie. I had no hindsight and I asked myself if it was good for the film. But I was strongly moved. He then explained how he was going to develop the themes and said: “We will meet on 12th January for the
recording.” I insisted to see him again before that day, in order to decide where to put the music.

We met again, we spoke together. “You know, we always do too much. Even if it is by me, we have to know how to waste.” I found this to be
incredible!” Ennio Morricone indeed composed one hour of music and I kept only 20 minutes. For the New Year wishes, he told me: “I thought about another theme. I don’t have the time to make you listen to it. We will start with this one at the recording, on 12th of January.”
The 12th of January! The day after the great walk in homage to the victims of Charlie Hebdo in Paris. So after having walked in Lyon, I was
in the plane to Rome, saying to myself: is it worth it, all this work? I was puzzled.

Christian Carion started his series of avant-premieres around mid-September 2015 and came down to more Southern territories of the country. After the film and before answering the questions from the audience, he showed what he had shot with his phone: Morricone playing the main theme on the piano (1:30). Of course the director warned everyone to not shoot or record this extra (maybe on the future DVD?). In this Northern quarter of France, he felt at
home, installing a warm but serious climate with the public. At one of the avant-premieres, as planned with the cinema center, I was able to obtain an
exclusive interview with him. Many thanks to him for having accepted it between two screenings.

Q: You developed the topic in the press kit and the CD booklet, but what were the reasons to call Morricone, who had nearly disappeared from the big screen for many years, especially in France?
C. Carion: While writing the script, I listened to his music for westerns and Once upon a Time in America, The Mission, powerful and moving. I then logically put them as temporary tracks. But then how to remove these? The production had the idea to contact Morricone, through another director, who had had a project with Morricone, not realized32.

Q: Did you gave him some indication for the music?
CC: I met the Maestro 3 times before the recording session. I indicated to him what the sequences were intended for. He wrote on a notebook, a sort of agenda. He fortunately told me that I had to through away some of his music, because in the fascination for such an artist, I wouldn’t have dare to! It’s the kind of music that gets you carried away, without it being boring or heavy. Morricone has an elegance in his work, the music infuses the movie, it is not
thunderous.

Q: The sort of mill, looking like our wing mills but smaller, seen in the film: is it too much to imagine it is a wink to …the West by Sergio Leone ?
CC: It actually is a wind mill of the period, in order to bring electricity to the water tower you see in a sequence. Obviously it was intentional. I conceived the film a little bit like a western.

Q: Has the final editing been made according to the music, much later?
CC: Yes, the editing between pictures and music was important, a lot of work. We had the help of his sound engineer, Fabio Venturi, who collaborated with us. The sound editor has a musical background, it helped us to make cuts here and there. We had some liberty because I had the composer’s trust. But we couldn’t do everything with the music because Morricone controlled the whole.

Q: On the end titles, we noticed the name of a harmonica player and of a female singer, both not present in the soundtrack. Why couldn’t the music with these soloists be kept?
CC: I believe you will find these tracks on the CD! Under the condition that the Maestro included them, because he masters the CD content. He recorded one piece with harmonica, different from the main themes. Then the player tried to play the main theme solo. And Morricone recorded it with him and the orchestra, as a new version. I wanted to use the first harmonica theme at the beginning of the film, on pictures in black and white of real people. But
it didn’t work, moreover the next music was by Schubert. It was maybe interesting but I removed the music: it expressed more without music, the pictures didn’t need it. And almost nobody played harmonica in France, it didn’t belong to the popular instruments, contrary to the accordion, for instance. The other track for orchestra, female solo voice and trumpet is his project for the end titles. It isn’t in the film because I finally didn’t retain it.
Q: The piece Morricone wrote as a surprise, unknown to you until the recording: is it the one for the end titles?
CC: Yes, the one I called the “Morricone Bolero”, an 8-minute long piece which takes you, with a progression. It has been used in another scene too. Its natural place, a maximal one, was at the end titles. Two themes were important: one for the departure of the people who leave their home, and the one for the end titles. Just after the recording of this track, I see Ennio taking a phone, talking a little bit and getting the phone close to the loudspeaker while the
music was playing: it was his wife Maria. She approved to it.
Q: Do you have a little anecdote about Morricone or the music?
CC: I came back in April 2015 to see Morricone with the film subtitled in Italian and with the music and a new editing. His wife was very moved at the end, with tears in her eyes. Ennio Morricone asked her: “It was great, wasn’t it?” She said: “Yes, excellent.” He said: “The film, sure, but what about my music?”

C. Carion: Cinema brought me to the music: Soylent Green opened me to Beethoven's 6th symphony, Kubrick brought me to the classical music. Cinema is a popular art allowing to open to other arts. Cinema and music go together, according to me, an intimate relationship. While writing, I need music. In En mai? there is existing music, by Schubert, but it is rare in my films. I like the idea of a music 《imagined and conceived for...》.

Morricone, for me, is more than a cinema composer, he is cinema. He is in the DNA of the worldwide cinema, through everything he made since many years. His strength is that his music is cinema. There aren't many in this category: while you listen to his music, you really are in cinema. He knows how to do that.

One of my first 45 RPM's was Once upon a Time in the West, the front cover with the longcoat guys seen from the back, and the young boy in front of them. I thought about that cover in the lift, when going to his home. I said to myself: I should not think about that, otherwise I am done. An experience helped me: I remembered how I lived Une hirondelle a fait le printemps with Michel Serrault, a cinema monster. If I begin thinking about the films he did, I wouldn't know how to direct him to play. And there in Rome, I said to myself: I have to forget Morricone's
music in order to really talk to him. [......]

The CD (Quartet Records QR 207): First impressions

The CD opens with the end titles, En mai? introducing the theme by a static and repetitive motive on organ (or electronic instrument), rather boring. Without it, the track would have more strength when listening to the CD. One of the nicest pieces of the soundtrack, it impresses by
its solemnity.
Few other tracks illustrate the movie. Ils resteront trois, moving and soft, takes the role of the film’s main theme, long and rich, it contains several really delicious motives. Traverser la guerre is heard, the softest of the 3 atmospheric tracks, but the soundtrack’s qualities are elsewhere. A track by far more often heard, Respirations, underlines the unquiet situation of the German looking for his son and the sad event of the people fleeing on the roads. As its title suggests, numerous pauses interrupt the music for strings, another well-know Morriconian pattern.

The harmonica cue, not used, is the first half of Tout laisser. The second half, a sweet and sentimental theme for strings, is used in the trailer. And in there, it is heard completely including the pedal introduction, while it is curiously cross-faded with the end of the first track on the CD
(a detail noticed by an Italian correspondent).

Many other tracks don’t appear in the film, or weren't perceived and remembered: L’étau se resserre, Ils arrivent, Tous ensemble, Et même les animaux sont avec eux, A la recherche de la paix. Tous ensemble, a gentle track, melodic but not flat, puts in light the flute, exceptionally.
The flute player Paolo Zampini, added “Esodo” to his film credits (see Maestro 7): it is actually this film, the Italian title being temporary for the recording. We have to keep this information because the soloist is oddly not mentioned in the CD credits, whereas other named soloists have
a similarly modest involvement. Et même les animaux sont avec eux presents a melodic treatment, like Ils resteront trois, but through another theme, welcome and very pleasant. A la recherche de la paix uses the theme from Tout laisser part 2 in a touching, melodic and ample way: it will suit to everyone. The female voice is sparse, discreet, and the trumpet is less aggressive than in I demoni di San Pietroburgo’s A mio padre. It concludes very well the CD, lasting 44 minutes (comparing to a 60-minute recorded soundtrack, we can be happy, as it could have been shorter).

Note that the definitive track titles are totally different from the ones registered in the SIAE database (see Maestro 8), surely changed by Stéphane Lerouge for the CD. The booklet contains a crossed interview between Carion and EM, long and informative, even if some parts are in the press kit), managed by Stéphane Lerouge. This is rare enough to be underlined.

电影剧情讲述了经过屈辱和急剧的战败之后，1940年5月法国北部成千上万的难民逃离家园的故事。这部影片设置在6月，众多的混乱交织着无数人的命运，其中包括一名反对纳粹政权的德国人，他在寻找他8岁大的儿子。对于这部"合唱团"般的电影，所有的演员都是恰当、认真、热情的。他们所承载的人性和寓意，喻示着我们每一个人都处在这动荡不安的岁月里。

我们确信我们正在对待一部重要的电影，上佳的镜头与良好的摄制（是到目前为止非常独特的法国电影！），需要我们用一些时间来重塑真实的历史背景。卡里翁出生于康布雷（法国北部省），对于电影情节他无疑有一种特殊的敏感，他不广为人知地直面了整个第二次世界大战。 这部电影于2015年11月4日在法国的影院上映，其他国家还没有切确的上映日期。

这项工作促成了一些非常有效的事儿。伊芙·玛楚儿，我的制作班底，她建议我与埃尼奥·莫里康内合作。我认为这完全不现实。我在里昂（法国）剪辑电影的时候，她在巴黎促进这个计划。有一天制片人打电话告诉我，已经与埃尼奥·莫里达成协议，不过大师要见见我！

我非常兴奋，同时我很担心：如何与这样一个人合作？我去了罗马，我对自己说这个计划将会流产。我在一幢高雅的公寓里促成了这个计划，莫里康内买下了索菲亚·罗兰从她丈夫卡洛·庞蒂那儿继承的公寓！埃尼奥·莫里康内向我介绍了他的工作方式："导演们告诉我剧情和剧本创作过程，在开拍之前我谱写、录制音乐，之后将音乐提供给导演。有关剪辑制作我们再碰头，如果需要改编，我们再调整，就是这么简单。" 之后我告诉他，在一年前我简直不敢想象请他创作音乐。他告诉我："现在你在这儿，你还有什么要求？" 我带了两张DVD，一张是含有临时音轨的电影剪辑片，其中大部分是莫里康内的，当然还有其他人的。另一张是没有音乐的剪辑片。

我建议他看后一张，不过大师首选看有音乐的那一张。他想了解我的口味。我们当时在一个房间里，一台差劲的电视机对面设有4个座位：上面坐着他的妻子，他的经纪人，他，还有我。我挨着他无法观看片子，于是我坐到了后面。电影开始了。第一段音乐是汉斯·季默的《细细的红线》。他说："那是什么，它没有感情基调！" 他接着用意大利语说了一些句子，翻译甚至没有翻译。影片继续，是法语的，没有字幕。他没有再说话。观看在两小时后结束，莫里康内转向我，我看到他被感动了。他自己也很吃惊。他告诉我："这部电影很伟大，音乐很棒"。我回答："如果你认为我会买入《西部往事》或者《黄金三镖客》的版权，那我们最好到此为止，我还要搭飞机。" 他笑了起来。他叫我到他的办公室。他在乱七八糟的文件里找到了一张纸，然后告诉我，在我们会面之前他已经收到了意大利语的剧情介绍。"读它的时候，我想到了这个"，他在移动钢琴时说到。我很吃惊，我问他是不是要弹钢琴。他?quot;是"。我拦住他："我要拍这部电影，我必须带着你的音乐回到巴黎。" 他想了一下之后问道："你？" 我回答："我！" （即便是那一刻，我还是对很多人表明了我的想法）。正如来自第一音轨的四音符（译注：第一音轨"五月"中有一个不断上升的四音符乐句贯穿整支乐曲），你意识到你正在对待莫里康内的音乐。它是这部电影一个重要主题。我没有后知后觉，我问我自己，或许这一切对电影来说是很好的结局。不过我被强烈地感动了。接着他解释他将如何展开主题音乐，他说："我们会在1月12日为录制音乐的事见面。" 我坚持要在12日之前再次见他，以决定在哪儿插入音乐。

我们再次会面，一起交谈。"你知道的，一直以来我们做了很多。即使是我自己，我们必须知道该如何浪费时间。" "我知道这是难于置信的！" 埃尼奥·莫里康内确实创作了一个小时的音乐，不过我只保留了20分钟的音乐。对于新一年的愿望，他告诉我："我想到了另一个主题。不过我没有足够的时间让你去听它。我们将在1月12日着手录制这个配乐。" 1月的12日！是巴黎举行致敬《沙尔利周刊》（译注：法国一家宗教和政治性的讽刺漫画杂志）遇难者伟大游行的第二天。因此，在里昂游行之后，我乘飞机到罗马，我对自己说：所有这些工作，值得吗？我非常困惑。

继法国的集体震惊之后，可以说罗马的行程是有益的和新生的。稍后，我与电影剪辑师返回罗马，并用意大利语配字幕。我希望大师全面地观看它，其中一个版本我已经砍掉了很多。看完之后，他转向他的妻子玛丽亚，问她作何感想，然后他转过头来对我说："今年上半年，我问自己为什么会接受为这部影片谱写音乐。而在下半年我才明白。今年上半年你砍掉了大量的音乐和工作：它不需要任何音乐。在第二部片子里，我保守地认为我的音乐带来了一些东西。从事这项工作60年，我认为我的音乐令人关注，完全是因为电影里有真正的东西来支撑它。"

有关这部电影的很多信息已经通过以上内容传达。莫里康内并不是卡里翁的第一人选，因为卡里翁曾经与菲利佩·罗姆比有过两次合作。此外，这位法国作曲家谱写了一个由苏格兰士兵演奏的风笛独奏的源音轨。所以，这部电影出现了一个例外，那就是上文所提及的作曲家给出了一个额外的音乐！

第二个重要的方面是浪费了大量的曲目，其中大部分的曲目可以放在CD里。一个小时的音乐中只有三个主要的主题音乐被保留，某一导演之前从来没有与莫里康内合作过，这样的情形是非常少见的。

这些首映式的一项，是按计划以影院为中心上映，我可以获得他的独家专访。十分感谢他在两个场次放映间隙接受采访。

问：您可以从新闻资料袋和CD手册中展开话题，不过请问您致电莫里康内的原因是什么，他几乎从大银幕上消失了很多年，尤其是在法国？
答：在创作剧本期间，我听了他为西部片谱写的音乐，还有《美国往事》的、《教会》的，很有感染力、很动人。然后我很自然地将它们作为临时音轨。但随后该如何去掉这些音乐呢？制片产生了联系莫里康内的想法，通过另一位导演，他曾经与莫里康内有过一个项目，不过没有实现32。

问：对于音乐，您给了他一些什么样的提示？
答：在录制配乐之前，我见过大师3次。我向他表明了那些镜头的用意。他在笔记本电脑上记下了一些提要。幸好他对我说，我必须远离他的一些音乐，因为这样一位艺术家的魅力，我不一定敢于尝试！这样的音乐会让你飘飘欲仙，如果没有它会很枯燥或很沉重。莫里康内创作了一部优雅的作品，他将音乐融入电影里，它不是雷鸣般的。

问：最后的剪辑片根据音乐制作，要晚的多吗？
答：是的，画面和音乐之间的剪辑十分重要，有大量的工作。我们必须得到他的录音师的帮助，法比奥·文杜里，他与我们合作。音效剪辑师有一个音乐的背景，这有助于我们在适当的地方做出删剪。我们有一些自主权，因为我有这位作曲家的信任。不过有关音乐我们不可能什么都做到，因为莫里康内总揽了全局。

问：在结尾的主题中，我们注意到有一个口琴演奏家和一个女歌手的名字，他们两个都没有出现在配乐中。为什么不能将音乐与这些独奏家一起保留呢？
答：我想你会在CD上发现这些曲目！在这种情况下，大师将他们纳入其中，因为他掌握着CD的内容。他和口琴家录制了一段曲子，它不同于主要的主题音乐。之后口琴家预演了主旋律独奏。莫里康内与他和乐团录制了它，将它作为一个新版的音乐。在电影开头我想使用第一个口琴的主题，在黑白画面上烘托真实的人物。但是事与愿违，因为接下来的音乐是舒伯特的。这也许很有趣，不过我删掉了这个音乐：没有它可以表达更多的东西，画面并不需要它。几乎没有人在法国演奏口琴，它不属于流行的乐器，反而手风琴更受欢迎。乐团的另一条音轨，女声独唱和小号是他为结尾主题所做的计划。它没有在电影里出现，因为我最后没有保留它。

问：莫里康内谱写的配乐中有一个惊喜，直到录音之前您并不知道：它是结尾主题的曲子，是吗？
答：是的，我称之为"莫里康内的波丽露"，一支8分钟长的曲子带着你一路深入。它也被用在另一个场景中。它是最长的一支曲子，它本来的位置是用在结尾的主题里。有两个主题很重要：一个用于人们启程逃离他们的家园，另一个用于结尾的主题。就在录制这个音轨之后，音乐正在播放时，我看到埃尼奥拿起电话，说了点儿什么，然后把手机靠近扬声器：那是他的妻子玛丽亚。她批准用这支曲子。 问：关于莫里康内或音乐，您有一点儿趣事，是吗？
答：2015年4月我带着一个重新剪辑过的有意大利语字幕的电影回来看莫里康内。到最后他的妻子非常感动，她的眼里充满泪水。埃尼奥·莫里康内问她："它很伟大，不是吗？" 她说："是的，非常优秀。" 他说："这部电影的确很伟大，那我的音乐呢？"

莫里康内对我而言，不仅仅是一位电影作曲家，他就是一部电影。多年以来，透过他所做的一切，他就是全世界电影的DNA。他的影响力在于他的音乐属于胶片。在这个级别没有多少音乐家能够达到如此的成就：当你聆听他的音乐，你真的会融入电影里。

原声音乐CD（Quartet Records QR 207）：第一印象

这张CD开启于结尾的主题音乐，五月…，以管风琴（或电子乐器）演奏的一个静态和重复的动机引入主题，比较乏味。在听这张CD的时候，如果没有它，曲子可能会有更多的动力。作为配乐中最好的一支曲子，以其严肃性令人印象深刻。

很少有其他的曲目诠释这部电影。他们留下三个是感人的、柔和的，承载了这部电影主要主题音乐的任务，漫长而且丰富，它包含了几个真正美妙的动机。穿越战争是可以听到的，是柔软的三个有感染力的曲目之一，不过配乐的特点在其余的地方。到目前为止，音轨中更多时候能够听到的，呼吸，强调了那名德国人寻找他儿子的焦虑情绪以及人们在逃亡道路上的悲惨事件。正如曲目名称所暗示的，弦乐器演奏了无数停顿的、中断的音乐，这是另一个众所周知的莫里康内式的标志。

口琴的线索不常使用，它是音轨上半部分里的放弃一切。下半部分里弦乐器演奏的一个甜蜜而伤感的主题被用在预告片中。在那儿，它是完全可以听到的，其中含有（风琴）踏板的引入，尽管在CD上它是奇怪的叠层渐变的第一音轨的结束（一位意大利记者发现的细节）。

很多其他的曲目没有在影片中出现，要么没有察觉到和回想起：拉紧绞索，他们到达，在一起，即使动物和他们在一起，寻求和平。在一起是一支温柔的曲目，旋律优美但不单调，异乎寻常地加入了明快的长笛。长笛演奏家保罗·赞比尼把"Esodo"（逃亡）加到他的电影代表作里（见《音乐大师》第7期）：其实它是这部影片的，录制的意大利语标题是临时性的。我们必须保留这些信息，因为奇怪的是CD信息里没有提及这位独奏家，而其他姓名的独奏家都有一个相当的适度的参与。即使动物和他们在一起呈现了一个旋律的处理，类似于他们留下三个，只不过通过另一个主题呈现出来，令人愉悦而且非常宜人。寻求和平使用了放弃一切第二部分主题，以一个感人的、旋律优美的和丰富的方式：它适合于每一个人。其中的女声哼唱是寥落的、慎重的，与《圣彼得堡的恶魔》的我的父亲相比，小号独奏不是那么激进。这张CD完美地结束了，持续了44分钟（相较于60分钟长的录制配乐，我们足以欣喜，因为它可以再短一些）。

需要注意的是最终的曲目标题与意大利作者出版者协会（SIAE）数据库中登记的那些截然不同（见《音乐大师》第8期），无疑，斯蒂凡·列儒日对CD做了更改。CD手册中含有卡里翁与埃尼奥·莫里康内之间的交叉采访，篇幅较长，内容翔实，甚至有些部分在新闻资料袋里，由斯蒂凡·列儒日保管。这些东西是不可多得的，足以强调。