Maestro, the Ennio Morricone Online Magazine, Issue #18 - January 2020
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Maestro, the Ennio Morricone Online Magazine, Issue #18 - January 2020


Le téléchargement nécessite un accès à la bibliothèque YouScribe
Tout savoir sur nos offres
64 pages


PREFACE: Life is tough, isn't it? - Patrick Bouster (3)
NEWS: In breve, Old News - Patrick Bouster, Didier Thunus, Steven Dixon (4-22)
INTERVIEW: Meeting with Stéphane Lerouge: Producer of the Decca 18-CD box set – Part 1 of 2 - Laurent Perret (22-28)
ARCHIVE: A treasure unveiled: Ennio Morricone’s very first years “behind the curtain” - Enrico Tichelio (29-30)
DOSSIER: Sergio Leone’s Commercial spots: Discoveries, Additional Information and List - Patrick Bouster (31-37)
TRIVIA: 1963 Festivals at RCA - Enrico Tichelio (38-42)
PARENTHESIS: Ennio’s Mid-Life Crisis: The 1978-1985 Transition Period - Didier Thunus (43-47)
INTERVIEW: Christian Gion, director of One Two Two - Patrick Bouster (47-48)
CHRONICLE: Western? The Hateful Eight and Others – Part 3 of 3 - Randolph Carter (49-57)
ANALYSIS: Recurrences - Enrico Tichelio (58-61)
CHRONICLE: Scusi, facciamo l’amore - The Ones that Got Away - Steven Dixon (62-63)



Publié par
Publié le 02 février 2020
Nombre de lectures 19
Langue English
Poids de l'ouvrage 5 Mo


18 CDS ANTHOLOGY Interview with Stéphane Lerouge
CHRISTIAN GION Interview with the Director of One Two Two
...and more
Table of Contents
Preface: Life is tough, isn't it?.................................................................................................... 3
In breve....................................... 4
Old News.. 18
Meeting with Stéphane Lerouge: Producer of the Decca 18-CD box set – Part 1 of 2............ 22
A treasure unveiled: Ennio Morricone’s very first years “behind the curtain”........................ 29
Sergio Leone’s Commercial spots: Discoveries, Additional Information and List ................. 31
1963 Festivals at RCA.............................................................................................................. 38
Ennio’s Mid-Life Crisis: The 1978-1985 Transition Period.................... 43
Interview with Christian Gion, director of One Two Two....................... 47
Western? The Hateful Eight and Others – Part 3 of 3.............................................................. 49
Recurrences ................................................................ 58
Scusi, facciamo l’amore: The Ones that Got Away................................. 62
In memoriam Rob Laffra, huge fan of Ennio Morricone and assiduous reader of this
thfanzine, who passed away on November 6 , 2019, aged 72.
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
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
Back cover image: Nikos Bogris, 2019
Life is tough, isn't it?
by Patrick Bouster
We are back again, after 6 months―this will be our tempo for the near future. A logical
frequency, since there is of course far less news about our composer. And because making
serious researches for dossiers and chronicles takes more and more time, among other personal
centres of interests, including other film music composers, literature and designs. The last issue
#17, published in early July, gathered a little less downloaders than usually expected, a fact
explainable by the summer holiday and maybe the decreasing interest of some people in
Morricone after his retirement, and the absence of films or records released.
This doesn't discourage us, you can believe it. First, we make efforts for the long term, the
future, through our researches, contacts, comments, discoveries (another example in this issue).
Secondly, time is necessary to install and develop something (think about the early issues of
fanzine MSV with about ten pages in A5 format, and for long containing half of our document,
because it was in that format, even with 45-50 pages). Then we have contacts, hypotheses of
work, some drafts, but it doesn't always work out as we would wish. For instance, we contacted
a musician having worked with Morricone in the Seventies, but until now, the work isn't
achieved yet. Besides, we planned to interview Maurizio Baroni, for his book “MorrICONe”
/”Master of the Soundtrack” but he wasn't able to do it, for personal reason, at least not yet. Be
sure that we will get other interesting contacts with other people to continue. A new contributor,
specialist of another composer we adore, is OK to write some article, but it couldn't be ready
on time. I had the luck to contact director Christian Gion, one of the few living French directors
having worked with Morricone. But, in spite of his positive response, his answers were... short
(I am always astonished by the lack of attention from some people about geniuses and important
artists, and even about their own). Another dossier was ready but in order to not reach or go
over the 70 pages, we postponed it and gave of course the priority to other and new contributors.
So you can find varied articles in this issue. First, thanks to Enrico Tichelio we got the great
opportunity to access the RAI archives, and he presents this golden mine of unearthed
compositions and arrangements. Enrico also contributed two more articles in this issue. Steven
Dixon is back, this time with I cannibali and Scusi facciamo l'amore. An interesting paper by
Didier Thunus makes a synthesis on a peculiar period 1978-85, known among us as somehow
a «static» one, even though the adjective isn't true for the whole of it. Randolph Carter concludes
his in-depth and always pertinent dossier “Westerns?”. And at last, after the “year Leone”
(2019), his work for ads is completed, improving the part written for Maestro #5, with expanded
information and discoveries. Leone Film Group received the project of dossier about the
Leone's spots, in order for them to check it out. They didn't reply. But, curiously, some changes
appeared on the video presentations on some sites (see the article).
But the thickest item being the 18-CD box by Decca (Universal), no one but Laurent Perret,
who took a hand to this edition, could have had an exclusive interview with film music expert,
head of the project, Stéphane Lerouge, limited in this issue about the CD box set only, other
matters being postponed for the next issue. Of course we put this big item in cover. Besides,
news are nevertheless present, with here and there homages and events involving the composer,
and even some new compositions.
There is no lack of matter nor material. That is why we continue, for the memory of a composer,
of film music. Thanks to many persons and our patience, tenacity, we accumulated a lot of
precious material. It will be used, in a form or another. Life goes on.
by Didier Thunus (D.T.) and Patrick Bouster (P.B.)
In breve
Final dates
thThe concert in Lucca on June 29 2019 was supposed to be Ennio Morricone’s last one. The
Maestro kept a very good memory of it: "It was an extraordinary concert in front of 20 thousand
people, those present and paying and those at a distance that followed standing, he recalls, with
1a unique amplification offered by the sound engineer Fabio Venturi". A TV evening on RAI
ston September 21 was to be dedicated to this last concert, in the presence of Morricone, but
was cancelled because the Maestro didn’t feel able to cope with the impositions of a television
2broadcast . It is highly probable however that the concert was filmed professionally and may
pop up soon in a form or another.
Senato è Cultura
thOn January 11 , 2020, a concert in homage to Ennio Morricone
was given in the Aula del Senato della Repubblica, with the
Orchestra Roma Sinfonietta. Ennio himself conducted parts of it,
for the first time since June 2019 (first the Italian national anthem,
then Addio Monti and Deborah’s Theme, and finally Se questo è
un uomo), the rest being conducted by Andrea (four pieces of his
father’s film music). Maria Elisabetta Alberti Casellati, President
of the Senate, pronounced a speech of appreciation and bestowed the composer a plaque and
3parchment .
Christmas Concert 2020
The Roman newspaper "Il Messaggero" announced that Morricone will conduct yet another
4concert, for the Pope ! It will be the Christmas Concert 2020 in the Paul VI Hall (also known
as the Aula Nervi from the name of its architect) in the Vatican. “Even if he didn't ask me
personally, I certainly couldn't say no to the Pope", Ennio said. The programme of this concert
is not known yet, but it will probably be an assortment of his sacred music for films and for the
concert hall. His Missa Papa Francisci springs to mind. As for the date, if we are really talking
about a concert for the 2020 Christmas celebration, then it will only be in almost a year from
Morricone, who turned 91 last November, also wanted to insist that he was in good health,
explicitly asking the journalist to report that if his voice was hazy, it was just because of a
seasonal illness.
3 Watch the
full event here: (with thanks
to Nicola Schittone).
On October 16, 2019, a concert took place in the auditorium
“Ennio Morricone” at the Tor Vergata university in Rome,
where a number of Morricone pieces were performed by the
Roma Sinfonietta conducted by Gabriele Bonolis, including
Mosè, Ut, Studio, Musica per 11 violini and Se questo è un
uomo. According to the web site of Bonolis, Casualties of
War was also performed (but not according to the poster).
It is difficult to find out which versions exactly were played
(the version of Mosè is said to be for cello and strings, so it
was probably a new rendition of the piece released on the
album “Cinema per Archi” in 2017). But apparently the
version of Studio is different from the known one: we had
only seen it played by contrabass so far, but this time it is said
to have been arranged for contrabass and strings.
MIDO Eyewear International Expo
The same article as above mentions that Morricone
composed a new contemporaneous piece that his son Andrea
stwill conduct on March 1 2020, at a concert on Piazza del
Duomo in Milano. “A work far from my cinematographic style, it is complicated and a bit
1somber”, Ennio says . This concert will take place on the closing day of the “MIDO Eyewear
5International Expo”, in the presence of the father .
New Works
MSC Cruise– The Sea at its Most
6The Maestro collaborated once more with MSC Cruise for their new campaign . The music is
beautiful and Morricone’s sound very recognizable―except for the rhythm elements. Maybe
they were added afterwards by a zealous sound engineer who thought it was giving a more
modern touch to the spot. It would be good to hear the music without it, and of course also
without the spoken words. Whatever the case, it is nice to see that our favorite Maestro is still
coming up with new music.
6 Download a
15-seconds ringtone here:
Again the same article as above mentioned a new piece for a TV commercial, “really
1important” . No further information is provided. So either it is the MSC Cruise commercial in
question, or it is yet another one―maybe another Dolce&Gabbana commercial shot by
Giuseppe Tornatore, but we will have to wait and see.
Stage adaptation of Nuovo Cinema Paradiso
7If there is still no news about Tornatore’s projects (Lo sguardo della musica , Geek and Beati
paoli) or about The Canterville Ghost, there seems to now be another Tornatore project under
8preparation: a stage adaptation of Nuovo Cinema Paradiso . The fuss about this piece of news
came from the fact that disgraced producer Harvey Weinstein was denied a trip to Rome to
meet Tornatore and Morricone, the latter not being able to travel because of his advanced age.
The fact that a meeting with the composer seemed to be so important tends to indicate that
Ennio will be involved in the adaptation to the stage of his own music. Or he just wanted to find
out what the heck did that man want to do with his music. In any case, due to the current
situation of the producer, it is very unlikely that this project will see the light
any time soon.
Milan Winter Olympics 2026
And let’s not forget the promise Morricone made to compose the hymn for
the 2026 Winter Olympics in Milan in case the Italian city was selected.
Indeed we heard in the meantime that Milan was chosen, so hopefully Ennio
will be able to honor his promise. The Games will take place in February
2026, in Milan, Valtellina, Cortina d'Ampezzo, Val di Fiemme, and in
Verona for the closing ceremony. The Maestro will be 97 years old when
this happens, but knowing him, he might have composed the piece already.
Events and Accolades
Order of the Rising Sun
After the French Legion of Honor and the highest honors of the Italian Republic, Japan has paid
tribute to the Maestro by conferring him the Order of the Rising Sun, from the hands of Keiichi
Katakami, ambassador of Japan to the European Union.
Morricone went to the ceremony at the residence of the Ambassador in Rome accompanied by
his son Marco. "It is a beautiful honor, he said. I like to remember the only Japanese work that
I did, the TV drama Musashi: it was a beautiful undertaking. The director
came to Rome to convince me and I said that I would do it only if I could write
in European or Italian style. My fear was that they would ask me music in
9Japanese style, because in this case I would have refused".
Sergio Leone Exhibition in Rome
After Paris, it is the turn of Rome to host the exhibition dedicated to Sergio
Leone, in the Museo dell'Ara Pacis from December 17, 2019, until May 3,
102020 . Ennio himself visited it, apparently on the day before the opening.
7 IMDb has now added a release date of 16 October 2016 (!) for Italy, as if the film had been broadcast already.
But it can only be a mistake.
Edinburgh International Film Festival
In June 2020, the Edinburgh International Film Festival will celebrate Ennio Morricone by
11programming 9 movies scored by him, including Danger: Diabolik! and Il grande Silenzio .
Premio Musica Nova
The first edition of the Premio Musica Nova award managed by
Flavia Di Tomasso saw the works of thirty-three young
international musicians being evaluated by a jury chaired by
Maestro Ennio Morricone. The jury met in his house in order to
12elect the best compositions . The other members of the jury were
Franco Piersanti, Albino Taggeo, Lucio Gregoretti, Stefano
Cucci, Roberto Giuliani, Alberto Giraldi, Gianfranco Borrelli and
Claudio Paradiso.
Civil action Morricone vs Bixio edizioni musicali
A judgment from August 2019, briefly reported in the press and relayed by some social
networks, treated the case of the rights of 6 musical scores of the late Seventies-early Eighties,
written by the composer and published by Bixio: Cosi come sei, Il gioccatolo, Un sacco bello,
Bianco, rosso eVerdone, La storia vera della signora dalle camelie and La tragedia di un
uomo ridiculo. Because it is not so easy, let's try to summarize the case, just for basic
information (that is why we won't reproduce the judgment here). Both claimed the ownership
of US copyrights of the scores. The stake was the royalties coming from the public
performances of the films and the publication of the music in the USA. The composer, through
an American lawyer intended to terminate the rights of Bixio in the USA, according to the
American law (the U.S. Copyright Act, 17 U.S.C. §203), after 35 years of exclusivity for the
publisher, by some legal procedures between 2012 and 2015. A first judgment followed the
arguments of Bixio, stating that the musical work was for hire, so represents an exception,
forbidding the termination. An odd way of thinking, which was fought by the composer in
Indeed, the Court of Appeals decided that the work was not for hire, because a composer isn't
an employee. The Court even refers to the Italian law to situate exactly the positions of both the
publisher and the composer, who is always part of the few people artistically involved in an
oeuvre, here a film, a traditional and well established principle in Italy and more generally in
Europe. So the composer won, and recovers his rights to the scores he wrote and their use,
which is just normal.
The consequences are difficult to perceive for us, but it regards the artist, his heirs and the rights
and royalties legally earned. Since the films cited aren't released in USA (or maybe very
confidentially), save the case of the video (on demand, especially) and the music not published
on CD for the USA market, the case is rather theoretical, and certainly for the principle to
simply the respect the rights.
New Releases
Apart from the 18-CD box by Decca “Musiques de films - 1964-2015” (see p.22 below) and
the Vinyl LP of I cannibali—surprisingly containing previously unreleased music (should we
now count on vinyl editions to get new music?)—the period has mainly seen re-releases adding
nothing new to the material already available. D.T.
Musiques de films/Colonne sonore/Original Soundtracks 1964-2015 (18-CD box set Decca
This box set is really the event of the end of the year, conceived like the 20-CD box dedicated
to Michel Legrand, a thick and deluxe item of 30X20cm, released late November 2019, close
to the Maestro's birthday. Focused to the big audience though, this product is intended for
listeners of film music, who would not have much of Morricone's music yet. Indeed it is difficult
to build such an item, because it results from compromises between rights, available material,
composer's will and what the audience is waiting for. The box set usually costs between 90 and
100€ (80 to 90$).
So, less extensive than the GDM 15-CD box compilation of 2008, the approach of the Decca
box set is very different, with whole scores (or almost) on one hand and excerpts on the other
hand. Of course it is a selection which cannot satisfy everyone. But it deserves attention and
respect though, and we present here a summary of its content.
For those who wish to know the complete track list, please refer to:
and of course, the interview of Stéphane Lerouge (film music expert and CD maker for
Universal and its labels like Decca), in this issue, with Laurent Perret who gave a hand to this
The 5 first CDs are dedicated to Leone, with 2 of them for the « Dollars trilogy », as complete
as the previous editions, with a remastering for Per qualche dollaro in più, as said by someone
on the FSM board, and sometimes a different mixing in GBU, chiefly in Marcetta senza
speranza. ...West and Giù la testa are partially featured, respectively with 20 and 12 tracks.
But please note that 3 of these CDs end with a concert version of the film concerned. Once
upon a Time in America is as the latest CD, with the suite and temp tracks.
Political films fill the following CD, with large excerpts from Sacco e Vanzetti, La classe
operaia... CD7 for Verneuil's films is very well-balanced (something new from Le clan des
Siciliens would have been perfect, but we know that the composer doesn't want to expand it).
Curiously, on the CD 8 Città violenta is in the most complete appearance with 21 tracks, the
CD being completed with excerpts of several giallos of Argento.
On the CD9, Orca, awaited since very long, is the wonderful, unexpected gift, and made a sort
of thunder among the film music lovers, with 3 tracks unreleased so far. So we at last get the
main titles music (which begins with Opening and Encounter like in the film), and two very
nice tracks for flute and orchestra. The additional work on this score wouldn't have been
complete without the restoration/remastering of the available stuff, enhancing greatly the poor
previous sound (except for the few who had access to the Music Box release). Let's add that we
13are especially happy to not find the bad song artificially put over an original track . The CD
ends with some tracks from L'umanoide, another 1977 film.
Then CD10 contains beautiful prestigious or stylish Italian films from the late 1970s, and
chiefly Novecento and its 16 track-program impossible to expand, but restored/remastered. A
good idea indeed, because the LPs always had big sound problems. The excellent two Taviani
films (Allonsanfan and Il prato) and the masterpiece Il deserto dei Tartari complete the CD
in the form of excerpts.
CD11 seems to be dedicated to the woman, with a good number of tracks from Leonor, La
cosa buffa, Per le antiche scale, La moglie più bella, La donna della domenica, Il gatto,
and La chiave as a very nice bonus. Our comments on the latter can be found below about the
separate CD produced by Claudio Fuiano, BEAT and Cabum. But in the box set, he track order
is a bit different, a good idea not enough used.
The Belmondo CD, number 12, is well balanced, between 4 films, which could not offer any
new tracks after the respective expanded CDs (the master of Le casse seems to be impossible
to locate).
CD13: the CD dedicated to Joffé presents The Mission as the usual Virgin CD, and 5 tracks
from City of Joy. CD14 evokes American movies: The Untouchables and State of Grace.
The CD about the faithful collaboration with Tornatore, after Nuovo Cinema Paradiso and
excerpts from a couple of other films, ends up with original music for an advertisement of Dolce
& Gabbana: Rosa Excelsa, with Sophia Loren. A good choice because to publish a music for
an ad is really very rare. We are dealing to the longest one (3:15).
CD16 contains The Hateful Eight including the dialogues like the other records, but it begins
by the song Ancora qui from Django Unchained (film version published). CD17 presents the
tracks Tarantino used in his films, including the rare reworked version from Regan's Theme
from The Heretic, coming from the Abbey Road sessions, only published on a special LP about
their film together and the DVD part of Morricone 60 CD + DVD set.
CD18 displays mostly cover versions and songs. But some rarities arranged by EM are present,
such as: one of the 6 songs of Aznavour arranged by EM, one for Branduardi, an instrumental
for Zucchero, one song for Dulce Pontes from her beautiful CD (“Focus”).
I cannibali
There has been a striking rise of interest in European LP soundtrack recordings over the years
among record and film fans. Ennio Morricone's latest vinyl offering is from a 1969 social drama
I Cannibali. A film set in Italy at the dawn of a new decade, the 1970s. The film illustrates a
bizarre glimpse of a future where citizens are crushed, dehumanized and forced into silence by
a network of laws laid down by the administration in power.
13 Instead, we prefer to speak about a recent song on the original music of Orca, by an excellent female singer :
Anna Charlotte Kersten, in an operatic mood, suiting well the music:
Released under a number of titles: in Italy it was “I
Cannibali”; in the UK “The Cannibals”; in the US “The
Year of the Cannibals”. When the film was screened at the
New York film festival in 1970, promoters of the film
suggested cinemas have sacks of cloth piled against the wall
so that when covered with a white sheet will look like a
mound of dead bodies.
The soundtrack is well known on single, LP and CD.
Original distributor was CAM. This time around it's from a
label we've not heard too much about. They call themselves
Spikerot, are based in Italy and primarily release heavy
metal /rock albums. This score does contain a number of
modern rock style themes with emphasis on electric guitar particularly within the main song
Cannibal. New record labels are popping up all the time to promote film music as art and
present cult film soundtracks in a format adored by many.
The film's first ever release on vinyl was back in 1970, as a single by CAM of Italy (CAM AMP
077). The cover was a simple plain design and a striking logo often used by CAM. Don Powell
provided the two vocals on that single: Cannibal (Nohra-Morricone 3:23) and Song of Life
(Nohra-Morricone 3:21). Powell was an artist best known for Italian western songs such Texas
Addio (1966) but was also an actor. On the single, the songs were slightly edited—Cannibal
by a total of 32 seconds and The Song of Life cut by a substantial 1 minute 23 seconds. The full
versions were reinstated on the Cerberus LP Sonny&Jed; Criminal Story of an Outlaw
Couple / The Cannibals (CEM-S 0111 USA, 1982). Both vocals on this new 2LP have
remained in their fullest and original form.
Actually Song of Life vocal was never featured in the film, but plenty of the instrumental
versions were. The Song of Life is a rather amazing song with a rousing upbeat choral final in
the vein of the theme song from Queimada (also from 1969) and Faith (U pa ni sha) from the
religious tv documentary series L'uomo e la magia, known in English as “The Magic Man”
14dated 1972.
This brand dual disc comes in a limited edition colored version of 150 units. Disc one is a bright
pink. Disc 2 a striking lime green. The plain black disc has 350 units. We open with the Song
of Life (organ version). This theme presents us with even more references to Queimada, the
soothing organ is a theme played when Britt Ekland's Antigone character and the mute Tiresias
as portrayed by Pierre Clémenti are rowing majestly down a river. The playing order of this
new vinyl release is quite different to those found on the expanded Digitmovies CD and some
of the tracks are even sliced into a number of smaller cues. For instance on disc one (side A)
we find a brief version of the regimented military theme Marcia dei can can (0:23). This is the
shortest theme ever released from this film. Apart from its abridged length, musically, there is
no difference at all. The subsequent discs offer us two more renditions of this theme. Again no
difference, musically that is. The total timings of the themes combined Marcia dei can can is
3:22. Compared to 3:13 from Digitmovies CD release. So we are only talking about a few extra
seconds (seemingly due to silences between the tracks)—no previously unreleased music here.
14 In fact on the 2007 Japanese bootleg “Mysticae” (Avanz) we mysteriously find the track Song of Life listed under
the heading “Outtake act 1 - My Song for Life”. Avanz of Japan had read an article I had written for I Cannibali
in the MSV issue of 106 (July 2007) and noted my remark about how similar Song of Life and U pa ni sha were. I
actually contacted Avanz records that year to ask them why they had listed Song of Life as a “Mysticae” outtake
as it was never featured in the tv series. They told me as the Don Powell sung Song of Life and the Rocky Roberts
vocal U-pa ni sha sounded similar they were like ''a family and brother''.

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