Maestro, the Ennio Morricone Online Magazine, Issue #16 - December 2018

Didier Thunus

Description

PREFACE: A Life Full of Work - Patrick Bouster (3-4)
NEWS: Happy 90th Birthday Maestro Ennio Morricone, In breve, Old News - Patrick Bouster, Didier Thunus et al. (5-18)
INTERVIEW: Top 15 Favorite Soundtracks - Interview with Director Romain Lehnhoff - Patrick Bouster (19-20)
CHRONICLE: Western? The Hateful Eight and Others – Part 1 of 2 - Randolph Carter (21-28)
ANNIVERSARY: The Whore, the Killer, the Revengeful and the Tramp - 50 Years ago in the West - Didier Thunus (29-39)
INTERVIEW: L’isola re-recorded - Interview with Didier Thunus - Laurent Perret (40-44)
SCORE REVIEW: Le streghe - Steven Dixon (45-47)
ARRANGEMENTS: San Remo 1960, A Special Edition - Patrick Bouster and Richard Bechet (48-52)
CONCERT REVIEW: The Very First Concert of Ennio Morricone - Jean-Michel Coignard (53-54)
DOSSIER: Titoli - Unreleased opening and closing titles in Morricone-scored movies, Part 1 of 2 - Patrick Bouster (55-60)
TRIBUTE: Ricordo di Sergio Miceli - Randolph Carter (61-63)

Sujets

• Ennio Morricone
• Webzine
• Fanzine

Informations

• Publié par: didier_thunus
• Publié le: 18 août 2019
• Nombre de lectures: 1
• Licence : En savoir +
  Paternité, pas d'utilisation commerciale, pas de modification
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

thTANTI AUGURI Celebrating Ennio Morricone s 90Birthday
thONCE UPON A TIME IN THE WEST 50 Anniversary
FROM LEONE TO TARANTINO A Western History
L ISOLA RE-RECORDING Interview
SAN REMO 1960 Hidden Arrangements
...and more
ISSUE #16 December 2018MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #16 DEXEMBER 2018
Table of Contents
Preface........................................................................................................................................ 3
thHappy 90 Birthday, Maestro Ennio Morricone........ 5
In breve....... 7
Old News.................................................................................................................................. 18
Top 15 Favorite Soundtracks – Interview with director Romain Lehnhoff............................. 19
Western? – The Hateful Eight and Others ............................................................................... 21
The Whore, the Killer, the Revengeful and the Tramp – 50 Years Ago in the West .............. 29
L’isola re-recorded – Interview with Didier Thunus................................................................ 40
Le streghe ................................................................. 45
San Remo 1960 – A Special Edition........................ 48
The Very First Concert of Ennio Morricone ........................................................................... 53
Titoli – Unreleased opening and closing titles in Morricone-scored movies........................... 55
Ricordo di Sergio Miceli .......................................... 61
License for all articles: CreativeCommons
Cette œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution
- Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 2.0 Belgique
PUBLICATION PÉRIODIQUE D'ÉTUDE ET DE CRITIQUE DANS LE DOMAINE ARTISTIQUE. LES TEXTES
SONT PUBLIÉS SOUS LA RESPONSABILITÉ DE LEURS AUTEURS, QUI EN CONSERVENT LA PROPRIÉTÉ
DES DROITS D'AUTEUR ET INTELLECTUELS.
All the articles are of purely informative nature. We do not own the copyright of the images
included in this document or of the audio clips accessible from it. All the rights on the images
and the music are the property of their respective owners.
Chief editors: Patrick Bouster and Didier Thunus
Front cover design: Valeria Magyar
Front cover inlay: Anne-Catherine Mortiaux
Front cover image: Poster of concert in Krakow in January 2019
Back cover image: "Hommage à Ennio Morricone, 90 ans", 2018, by Philippe Aymond
2MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #16 DEXEMBER 2018
P REFACE
A Life Full of Work
by Patrick Bouster
Very rare were the composers until now having reached the age of 90, and furthermore still active –
although artists in general still work very late and don't really retire. Without the criterion of activity,
difficult to evaluate, only John Scott comes to mind for film music, and Henri Dutilleux or Ravi Shankar
for other/absolute music. Some sparse ones came very close to this age: Stravinsky, Verdi, Rosza, Boulez,
Duhamel. How Morricone is a rare personality is that he combines longevity, huge productivity even early,
high quality and originality of style, and big fame, which makes the number of his “challengers” decrease
to one or two only. The man seems to still be in good health condition, and there is no coincidence in this:
certainly he took care of his body, while many other people have bad nights, don't do sport, and make
excesses (of alcohol, tobacco, junk food or other dangerous products). It proves as well that, helped by
exceptional vitality and strong will, working hard and training the brain prevents the damages of old age.
It illustrates the Latin maxim “Mens sana in corpore sano” (“A healthy mind in a healthy body”). I see in
that discipline and way of life a sort of life lesson, in comparison to lazy or insignificant people and
socalled “stars” (out of charity, no name is given) who didn't make anything but to be born, and put their
vacuity on the net and social networks.
At this step of 90, the activity will be by far rarer in the cinema, but against the previsions and his own
statements, concert conducting will continue, more for the pleasure to be with the audience. This new step
means still composing, disengaged from applied music constraints: his real nature and taste will be newly
expressed just like he had wished at the very beginning of his career. A late period opens its doors, for a
purpose he never abandoned: writing absolute music, having his oeuvre performed. What Morricone very
often affirmed about fading in and out the music to illustrate a scene finally finds his transposition into his
life. The decrease, even in film music (see News below) will be real and strong but progressive, letting
apart films and directors one by one.
The creator experimented everything in his stakhanovist career: avant-garde, academic music, commercial
involvements, disagreements followed by reconciliations, scores for UFO-like movies, big successes,
regrets, B and even Z movies, aborted projects, pieces mixing score inspirations and contemporaneous stuff,
astonishing refusals, documentaries of all sorts, original music for advertisings, etc. In this incomplete list,
what will be the future gifts from the gifted artist? He will be able to score another spot of Tornatore if he
asks him, to give an existing but unknown theme for a film or TV film, to lend absolute music to be used
to illustrate a purpose (cinema or other). I didn't understand his recent sentence (in the Il Corriere della sera
interview, see News): “Film scoring is too much responsibility for me.” First, the composer isn't responsible
of the destiny of a film, the producer and director are. Is it due to the lack of success of En mai, fais ce
qu'il te plait, putting his name in large letters but not managing to find the public? Secondly, his
involvement wouldn't embarrass a film but would enhance it, save the exception that the music isn't adapted
for it or is badly used. Third, such a prestigious name doesn't have to be present with a complete and long
score to be artistically part of a film: one theme, some sparse interventions put enough signature and stylism
to be appreciated. All these arguments from the lovers and the audience don't work of course, because at
90, it is logical to wish to do something else, to make place to more quietness.
Anyway, the composer will find what to do to be busy, because such a creator never really retires.
And as for the Maestro magazine, in spite of this situation, hugely predictable, it will continue. Because
there are still many things to dig out, to discover, by researches, comments, in-depth articles and thematical
dossiers, to detail and know better the multiple facets of the composer's oeuvre, films and concerts. And
please believe that by far, not all aspects and parts has been already explored.
3MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #16 DEXEMBER 2018
Omaggio, omaggi
thFor this 90 anniversary, a special issue was prepared – during a long period of time – and we planned to
obtain some information and reactions about the Tornatore’s documentary, Lo sguardo della musica (“The
Glance of Music”), announced to be released in November this year. It would of course have been the
perfect occasion to add another tribute and use it as cover image, but Tornatore was probably too busy to
make it ready for this date. News from Italy didn't come, so we decided to not postpone any further, after 6
months. Anyway, you will find here numerous homages, not only directly linked to the 90 years, but perfect
to suit this purpose. Throughout the issue, there are many: the events around the anniversary of course
(“Novant'Ennio”), concerts of November, a Top 15 scores video, the retrospective at French Cinémathèque,
drawn tributes, an in-depth article by the dear Randolph Carter, who comes back with even two articles, an
analysis of Once Upon a Time in the West, and explanations about L'isola reconstructed score recording.
Even the article on Sanremo pays tribute to the composer, giving justice to his hidden arrangements for
others. A newcomer, Jean-Michel Coignard, took the time to write something about the very first concert
conducted by Morricone. The substantial length of this issue will maybe compensate our delay. Good
reading for Christmas holidays and later.
A special thought to the memory of Francis Lai, Stelvio Cipriani and Charles Aznavour.
This issue is dedicated to Bernardo Bertolucci.
Ennio Morricone, at a public celebration broadcast by RAI TV, paid a moving homage to him : “It is not
so extraordinary that I am here to remember about Bernardo? I am afraid to remember him now... He has
been a great director, a great person. In Novecento he has put all the good from a part and all the bad
from the other, a very correct thing; the film was not immediately understood. I want to remember him in
this moment in which Bernardo is calmer than us. (…)"
“Non è cosi straordinario che io sia qui a ricordare Bernardo? Ho grande paura di ricordarlo adesso... è stato