Giallo fever: part 12

Title: Indagine su un delitto perfetto (The perfect crime)

Year: 1978

Composer: Carlo Savina

Indagine su un delitto perfetto wasn’t a classical Italian giallo film with a masked killer going around killing young women, but more of a corporate thriller story where people are killed while pursuing a chairmanship. Carlo Savina’s score harks back to classic giallo progressions and moods, though explores new ideas which represent the buzzling underworld of the city of London.

Right from the start the listener is thrown into a world of mystery and murder. The track develops from the schizophrenic piano phrases to a mellow main theme tune which features the classic voice of Edda dell’Orso and some groovy bongo drums. Sadly the solo voice isn’t utilized again until the finale cue. The score is basically monothematic and it’s actually surprising how many of the cues incorporate the melody in some shape or form. This already elevates the whole score and especially the moody suspense cues to a tightly cohesive experience.

The main go-to instrument for the theme is the bass flute which has qualities fit for a 007 score. The first full reprise is heard in Seq. 3 which resolves into a dreamy and jazzy chorale for the flute and keyboards. Those same moods return briefly in Seq. 4 before it once again turns back to the chase style arrangement of the main title. However from that onwards it is mostly developed within the suspense department, such as in the impressionistic opening of Seq. 5 which later explores the keyboard suspense motif heard briefly in Seq. 2. Sparse piano chords dominate the following cue before the man theme rises again from the darkness offering a soothing, jazzy moment. The score starts to break down even more in Seq. 7 which includes floating, strangely evocative chords along with another beaten down main theme version for bass flute.

Seq. 8 is perhaps the album’s only cheerful moment written for a bar piano that has a romantic prelude. The schizophrenic phrases of the main title return in Seq. 9 which then features a reprise of the chase arrangement which cools down significantly to bare rumbles in the dark alleyways. The longest stretch of suspense, Seq. 10, is unfortunately the most boring one. The absence of the main theme is clearly noticeable this time and the leftovers are just an uninteresting bunch of moods that are not even that frightening. Compare them to Seq. 11 which is excellent especially when listened through headphones. Though the cue is quiet and sparse, what makes it so effective is the clever orchestration of woodwinds playing at their lowest range and some distant bar piano disturbed by high tinkling effects. Seq. 12 on the other hand has my favourite versions of the main theme presented in an otherworldly, dream-like way that is soothingly disturbing. The following solo piano version of Seq. 13 can almost be considered beautiful before it moves again to more macabre variations perfect for morbid discoveries.

I love how Savina crafted a score this suspenseful that features no strings and on the whole only a bare minimum of instruments needed. Though some of the moodier tracks can’t reach the desired effect on album, there are many exceptional moments that benefit from the chosen theme-and-variations type approach.

Rating: ****

Tracklist:

1. Indagine su un delitto perfetto - Seq. 1 (01:51) *****

2. Indagine su un delitto perfetto - Seq. 2 (01:39) ***

3. Indagine su un delitto perfetto - Seq. 3 (02:04) *****

4. Indagine su un delitto perfetto - Seq. 4 (01:49) ****

5. Indagine su un delitto perfetto - Seq. 5 (02:03) ****

6. Indagine su un delitto perfetto - Seq. 6 (02:19) ****

7. Indagine su un delitto perfetto - Seq. 7 (01:06) *****

8. Indagine su un delitto perfetto - Seq. 8 (01:38) ****

9. Indagine su un delitto perfetto - Seq. 9 (02:48) ****

10. Indagine su un delitto perfetto - Seq. 10 (04:25) **

11. Indagine su un delitto perfetto - Seq. 11 (03:25) *****

12. Indagine su un delitto perfetto - Seq. 12 (02:59) *****

13. Indagine su un delitto perfetto - Seq. 13 (02:33) *****

14. Indagine su un delitto perfetto - Seq. 14 (02:19) *****

15. Indagine su un delitto perfetto - Seq. 15 (01:15) ****

WTF (part 7) and Giallo fever (part 11)

Title: L’ingenua (The naive)

Year: 1975

Composer: Carlo Savina

Sexy comedies with some softcore nudity were their own genre in Italy in the 70s, including L’ingenua from 1975. There is a plot about conmen trying to sell a villa but the real reason for the film were the views, both the beautiful scenery but mostly the nudity of one Ilona Staller, aka Cicciolina, a famous Italian sex-object. Strangely a film like this also got an original score which was made by none-other than Carlo Savina, already a prolific film composer at the time. And the result is actually a pleasant surprise, not just some background porn music.

Because the score is so short, around just 25 minutes, Savina made a clever choice to build it around one unifying theme heard in Seq. 1. It opens however with a sighing female voice, which is a corny touch and sadly disappears for the rest of the score. The theme is then heard in waltz meter on the Mediterranean accordion and whistling which gives it the comedic edge before modulating into a wondrous little crescendo. Lovely stuff indeed. It is followed by straight-up comedy honky-tonk which after a pause turns into a fine version of the main theme never straying far from the comedy. A more laid-back poolside source version is heard in Seq. 3 but Seq. 4 returns to the comedy with music suitable for a funny chase sequence and later more anonymous background music. Seq. 6 and 11 include folk-music like accordion waltz which isn’t terribly original but does it job. Bluesy radio source with walking bass is featured in Seq. 7 preceding a cheeky main theme statement of Seq. 8 which has slight hints of doubt with the underlying orchestrations.

A beautiful saxophone solo opens Seq. 10 before the comedy motif of Seq. 2 returns somewhat ruining the otherwise fine atmosphere. The most ‘suspenseful’ moment of the score is heard in Seq. 12’s beginning but then it dissolves into a mixture of both the main theme and an actually interesting variation of the comedy motif with odd tinkling sound-effects and organ bleeps. The last cue returns to the lovely wonder of the opening with sweet orchestrations and floating accordion solo.

The score for the film is a very light one and doesn’t feature any real drama. If you’re looking for an easy-listening to play in the background, this certainly does the job but never reaches the heights Savina is capable off. But on the whole we have to be glad that this project even exists and we are able to hear it after over 4 decades.

Rating: ***

Title: L’osceno desiderio (Obscene desire)

Year: 1978

Composer: Carlo Savina

As an odd choice, the second feature on this album is actually from a giallo/horror film about an American tourist who gets impregnated while on a holiday. Inspired clearly by The omen and Rosemary’s baby, the child is actually the antichrist. Savina’s score is actually similar to one featured in those films, since it includes both beautiful passages that lull you into a fall sense of security and then releases frightening scenarios in the tension-filled cues.

The film’s sad main theme opens Seq. 1 with a plain piano solo which later expands to woodwinds and solo viola. Savina’s scores generally are more built around motifs than long-lined themes. However this time the melody is really developed and tear-jerkingly beautiful, and perhaps one of the composer’s very finest. The orchestration for this score is quite sparse which makes all the instruments pop out thus making the listener feel each performer’s unique way of playing. The first few reprises are full of hope and filled with the bliss of a tragic romance. Both Seq. 3 and 4 include passages in major key and variate the melody into clever chord progressions that change the overall mood momentarily into a light autumn breeze. The last shades of almost childlike innocence are heard in Seq. 6 which once again continues to the tragic pattern that is incredibly beautiful with its sadness. From thereon the theme continues to get shades of darkness with every reprise. Seq. 8 combines it with clashing pianos, keyboards and even snippets of the devil’s viola, and the style gets even more broken and crooked in the following cue. After many horrific cues there is a surprising sequence, Seq. 17, which is a romantic new theme that has dramatic piano flourishes and even major key sections. That new melody is also heard in the finale cue which isn’t the romantic conclusion I was hoping for because there are still shades of darkness left, perhaps signaling that the evil wasn’t defeated.

The horror begins already in Seq. 2 with devilish viola solo, another classic way to resemble the devil through Western classical music. The base is reprised without the viola in Seq 7. The mood of these cues is later developed into an actual horror motif which is the score’s secondary theme. Seq. 10 has interesting keyboard effects that are actually quite fun in a twisted way. The first version of that secondary theme is also heard during its final moments. Seq. 11 has music that sounds like someone creeping around empty rooms at night. Seq. 12 begins with terrifying variations of the main theme which make way to another sparse creeping around cue that is actually quite frightening to listen to by yourself. Seq. 13 is the first cue built entirely around the secondary theme. It isn’t as effective as the previous horror music but functional for sure and it even includes some humming choral voices that create a ghostly atmosphere. There are also otherworldly electronic enhancements in the following cue which are actually quite unsettling. The closest the music comes to releasing the tension is at the end of Seq. 18 where the music speeds up and swells into its climax.

L’osceno desiderio has beautiful, exquisitely orchestrated music during its first half which then turns into sour, slow-burning tension during the second half that barely lets the listener have a moment to breathe. Unfortunately the beginning is so strong that the suspense music, which is built around repeating loops and short phrases, just falls flat at certain points. At times though it manages to get under my skin and makes me check over the shoulder for intruders. Nevertheless it’s clearly the better score of the album and just barely misses a perfect rating.

Rating: ****1/2

Tracklist:

1. L'ingenua (Seq. 1) (02:10) *****

2. L'ingenua (Seq. 2) (02:24) ****

3. L'ingenua (Seq. 3) (01:37) ****

4. L'ingenua (Seq. 4) (02:06) ***

5. L'ingenua (Seq. 5) (01:22) ***

6. L'ingenua (Seq. 6) (01:39) ***

7. L'ingenua (Seq. 7) (01:17) ***

8. L'ingenua (Seq. 8) (01:48) ****

9. L'ingenua (Seq. 9) (01:58) ***

10. L'ingenua (Seq. 10) (02:04) ***

11. L'ingenua (Seq. 11) (01:48) ***

12. L'ingenua (Seq. 12) (02:32) ****

13. L'ingenua (Seq. 13) (01:11) *****

14. L'osceno desiderio (Seq. 1) (01:52) *****

15. L'osceno desiderio (Seq. 2) (01:26) *****

16. L'osceno desiderio (Seq. 3) (02:24) *****

17. L'osceno desiderio (Seq. 4) (02:56) *****

18. L'osceno desiderio (Seq. 5) (01:19) *****

19. L'osceno desiderio (Seq. 6) (02:06) *****

20. L'osceno desiderio (Seq. 7) (01:26) ***

21. L'osceno desiderio (Seq. 8) (02:31) *****

22. L'osceno desiderio (Seq. 9) (01:49) *****

23. L'osceno desiderio (Seq. 10) (02:28) ****

24. L'osceno desiderio (Seq. 11) (01:37) ****

25. L'osceno desiderio (Seq. 12) (03:00) *****

26. L'osceno desiderio (Seq. 13) (02:00) *****

27. L'osceno desiderio (Seq. 14) (03:24) ***

28. L'osceno desiderio (Seq. 15) (02:26) ****

29. L'osceno desiderio (Seq. 16) (02:01) ***

30. L'osceno desiderio (Seq. 17) (03:42) *****

31. L'osceno desiderio (Seq. 18) (01:53) ****

32. L'osceno desiderio (Seq. 19) (02:30) *****

Giallo fever: part 10

Title: …e poi, non ne rimase nessuno (Ten little Indians aka And then there were none)

Year: 1974

Composer: Bruno Nicolai

An adaptation of Agatha Christie’s classic novel moves the events from an island to a secluded hotel in the Iranian desert. Ten strangers who have committed crimes for which they haven’t been punished, are gathered there and then killed off one after another. The film included an international production team and cast and the score was written by Bruno Nicolai. No score release was available though and it was one of the most requested works from the composer before finally receiving a limited release in 2009 which quickly sold out.

For the film Nicolai composed two nostalgic, lyrical themes while the rest of the cues are devoted to mostly atonal mystery writing. Seq. 1 presents the main theme, the more melodic of the two with a flute solo that is then joined by the orchestra. The backing drumset and bass bring it that laid-back giallo flavour while the harpsichord is more suitable establishing the film’s aristocratic aspects. A reprise of the theme is heard in Seq. 10 where it transforms into a sweet elegy for the dead, however there is some added uneasiness with the fighting harpsicord notes that fall out of the familiar chord pattern. Beautiful stuff nevertheless. The final version in Seq. 18 starts with the slow version and then moves to the more mobile performance for the end credits.

Seq. 4 is the introduction to the second melody which has similar feeling to the other one but it’s performed by a solo trumpet and it has a hint of darkness and mischievous intrigue to it. The B section, aka a descending harpsichord line is heard in Seq. 7 bringing it more of that nostalgic flavour of the main theme. In Seq. 13 the melody seems like it has been beaten down by the killing spree but a final reprise in Seq. 16 brings that lounge instrumentation back again providing a more energetic sendoff to the melody.

The first suspense cue Seq. 2 includes the drumset and bass beating in a more sinister fashion, later changing into the main suspense motif for jazzy bass, abstract strings and harpsichord. There is a certain feeling of claustrophobia and unease with the music that’s just perfect for the subject matter. Seq. 3 is actually the same suspense melody heard in Ennio Morricone’s Il gatto a nove code, yet there is no acknowledgement in the liner notes for this. Nevertheless the cue is as weirdly suspenseful as it was in that score so I don’t mind the direct copy. The 8-minute showcase Seq. 5 includes elements from both of the previously mentioned suspense cues with emphasis on the percussion and bass again before the solo flute enters along with dark organ chords. This cue serves as an inspiration to moods heard later in the score, for instance in Seq. 11 and 12. After a hair-rising development section for strings, high organ notes and banjo (?) the pace thickens again offering some brilliant, spooky chase music. Seq. 6 continues directly where it leaves off with more of that chase style music before quieting once again to strings and floating plucks in the darkness that are also present in Seq. 8. Interesting flute textures filled with cluster chords and steadily beating rhythms are heard in Seq. 9 that lead to a devastating horror stinger. The weirdly comical suspense motif returns in Seq. 14 and 17 ending both times with chilling horror material. That same motif starts Seq. 15 but slowed down so that it’s almost unnoticeable then developing into another long-lined, slowly intensifying suspense moment.

The score brings nothing new to the world of giallo music but it’s a highly attractive piece of music nevertheless. In mood it’s very similar to Maestro Morricone’s Il gatto a nove code which is one of my favourite giallo scores by him. The two main themes are stellar, the suspense music, though mostly atmospheric and slow-moving, is interesting, oddly charming and never unlistenable. A little more punch would be needed for it to rise among the very best but it’s still a pleasant experience in its entirety.

Rating: ****1/2

Tracklist:

1. ...e poi, non ne rimase nessuno - seq.1 (03:04) *****

2. ...e poi, non ne rimase nessuno - seq.2 (03:58) *****

3. ...e poi, non ne rimase nessuno - seq.3 (03:47) *****

4. ...e poi, non ne rimase nessuno - seq.4 (01:52) *****

5. ...e poi, non ne rimase nessuno - seq.5 (08:15) *****

6. ...e poi, non ne rimase nessuno - seq.6 (03:01) ****

7. ...e poi, non ne rimase nessuno - seq.7 (02:36) *****

8. ...e poi, non ne rimase nessuno - seq.8 (01:22) ***

9. ...e poi, non ne rimase nessuno - seq.9 (01:55) *****

10. ...e poi, non ne rimase nessuno - seq.10 (03:17) *****

11. ...e poi, non ne rimase nessuno - seq.11 (02:27) ****

12. ...e poi, non ne rimase nessuno - seq.12 (01:33) ****

13. ...e poi, non ne rimase nessuno - seq.13 (02:06) ****

14. ...e poi, non ne rimase nessuno - seq.14 (02:07) *****

15. ...e poi, non ne rimase nessuno - seq.15 (03:49) ****

16. ...e poi, non ne rimase nessuno - seq.16 (02:00) *****

17. ...e poi, non ne rimase nessuno - seq.17 (02:31) ****

18. ...e poi, non ne rimase nessuno - seq.18 (03:56) *****

Giallo fever: part 9

Title: La lama nel corpo (The murder clinic)

Year: 1966

Composer: Francesco De Masi & Paolo Renosto

La lama nel corpo takes place in the 1800s in a secluded mental institute where a stabber kills the sexy patients one by one. The music was provided by Francesco De Masi whose fully orchestral score depicts the large gothic corridors, dark corners and eerie atmosphere so vividly that you start to look behind your shoulders for a masked killer on the loose. A fellow film composer Paolo Renosto was brought in for some additional romantic material and a few suspenseful passages.

Nel buio della notte introduces the score’s unifying identity right from the get-go. A sinister major 6^th interval starts the score and serves as the backbone of the film’s main theme which follows afterwards performed by a solo cello. This descending atonal melody is rarely performed in this form rather it’s always variated in some form or another. It leads to score’s another element, an electric bass guitar whose rhythmic plucks probably depict the killer. What follows then is a series of suspenseful cues of excellent 60s style orchestral horror music. Entrado nel misterio has all the essential elements: harpsichord, bass clarinet, flute and an organ to create the atmosphere. The electric bass guitar reappears in Passagio dell’ombra on top of which a variation of the main theme is heard. The sequence later moves to a faster chase-style music that ends with orchestral knife stabs à la Psycho. A dramatic string moment interrupts Fred! Oh povero Fred which then reprises the main theme.

Renosto’s first attribution is called Shina, forse tu which has harpsichord as the main suspense element ending with an orchestral crescendo. The style of the track doesn’t differ from De Masi’s contributions and eventually another variation of the main theme is also provided. Both Robert nella grotta and Giselle entra nella villa include the fullest main theme performances since the opening cue. Slowly-rising tension fills Scoperta del mostro which concludes to another highly dramatic orchestral moment for an apparently horrific discovery, while the cue’s opening is almost fully reprised in the following Il ricatto di Giselle.

The first real sigh of relief comes in Ricordo di un’epoca felice, a romantic theme written by Renosto. It opens with a solo violin playing the classically inspired melody which then changes to a Viennese waltz and then to a bed of swirling strings and harp arpeggios with the main melody playing on top. The whole cue is then reprised a second time which makes it perhaps a bit taunting. De Masi also wrote a romantic theme for one of the main characters also played by a solo violin. It’s introduced in Mary, solo con te and in tone it’s more mournful and darker than its predecessor but not an inch less beautiful. After a main theme reprise of Incubo di Mary that same melody also ends the original album (and probably the film too) in a powerful rendition for the full orchestra and victorious major finish.

The album presentation also offers previously unreleased material that plays around with the ideas presented within the first 15 cues. Notable inclusions are for example Shina, forse tu (versione 2) which is a short action moment for swirling strings, and a faster reprise of De Masi’s romantic theme in Scoperta del mostro (versione 2). A reprise of Renosto’s romantic theme in track 24 ends in terror after a surprising orchestral surge. The rarely heard fast-paced action music returns in Incubo di Mary (versione 3) followed by another schizophrenic action cue Shina, forse tu (versione 3) which both are excellent additions to the original album programme. Unfortunately there is no satisfying conclusion to the score, though the final Shina, forse tu version is a fine suspense cue complete with orchestral stingers and the plucking of electric bass and harps.

De Masi’s score is perhaps a bit too long and repetitive to grant it the full five stars. Nevertheless it offers some of the best music of the genre utilizing the full potential of the orchestra with its insightful orchestrations. Renosto’s contributions only make the listening experience better and altogether the score is a suspenseful yet constantly melodic journey full of chills.

Rating: ****1/2

Title: Lo spettro (The ghost)

Year: 1963

Composer: Francesco De Masi

The story of the score for Lo spettro is a strange one. Apparently De Masi wrote the final score for the film in only 2 weeks before the film’s premiere. The original score was credited to Frank Wallace, a pseudonym for Franco Mannino, whose score got rejected. Still in the film the score was credited to Wallace, not to De Masi’s usual pseudonym of Frank Mason. It’s a miracle that the score got a release despite all these legal issues, but I’m glad it did. The haunting quality reminiscent of La lama nel corpo is perfect for a story about a couple who decide to murder the wife’s former husband who later returns to haunt them.

When the album is played through it’s even hard to realize the score changed from La lama nel corpo to Lo spettro because the opening phrase of Preludio ad un dramma is so similar to the main theme of the preceding score. The orchestral crescendo then moves to a quieter, melodic suspense moment Incubo notturno that ends with dramatic woodwind and string chord progressions with rattling percussion effects. Ansiosa attesa includes some passages similar to John Barry’s suspense style, with a slow rhythmic build-up that has the film’s main suspense motif playing on top. It’s not as flashy music as in La lama nel corpo, more psychological terror.

The true star of this score and the whole album is the main romantic theme heard in Melanconia autunnale. It’s a fragile, tear-jerkingly pretty tune that gets stuck in your head long after the album is finished. Once again the orchestrations are sublime, including a backing music box and very high string section. The first version is interrupted by the suspense motif in the middle but fortunately we get a full version of the melody for simple music box in La bambola melodica. Luckily there’s a proper end to the score this time, called Tragedia nella notte which begins in a suspenseful fashion but then moves to a full version of the music box melody for the full orchestra which ends with dramatic minor chords and cymbal crashes.

Though Lo spettro is a short score, in some ways, especially with its romantic theme, it surpasses the album’s main event. Casual listeners won’t probably even realize that there are two scores on the disc because of their similarities, yet Lo spettro is more introspective of the two, playing more to the listener’s emotions and psyche, not just underscoring what happens on the screen.

Rating: ****1/2

Tracklist:

“La lama nel corpo”

1. Nel buio della notte (02:53) *****

2. Entrando nel misterio (01:09) *****

3. Passagio dell'ombra (03:10) *****

4. Fred! Oh povero Fred (02:52) ***

5. Robert, cosa pensi? (01:40) ****

6. Shina, forse tu (01:51) ****

7. Robet nella grotta (01:44) *****

8. Giselle entra nella villa (01:50) *****

9. Scoperta del mostro (03:34) ****

10. Il rigatto di Giselle (03:00) ****

11. Ricordo di un'epoca felice (04:50) ****

12. Mary, solo con te (02:33) *****

13. Lizabeth, cosa hai fatto (01:18) ***

14. Incubo di Mary (01:12) ****

15. Verso la speranza (01:14) *****

16. Lizabeth, cosa hai fatto (versione 2) (00:54) ****

17. Giselle entra nella villa (versione 2) (01:16) *****

18. Shina, forse tu (versione 2) (00:38) *****

19. Scoperta del mostro (versione 2) (03:04) *****

20. Ricordo di un'epoca felice (versione 2) (02:45) *****

21. Scoperta del mostro (versione 3) (02:22) ****

22. Lizabeth, cosa hai fatto (versione 3) (00:53) ****

23. Incudo di Mary (versione 2) (00:23) ***

24. Ricordo di un'epoca felice (versione 3) (01:18) *****

25. Incudo di Mary (versione 3) (01:07) *****

26. Shina, forse tu (versione 3) (00:59) *****

27. Passagio dell'ombra (versione 2) (00:57) ****

28. Scoperta del mostro (versione 4) (02:00) ****

29. Shina, forse tu (versione 2) (02:02) ****

“Lo spettro”

30. Preludio ad un dramma (01:17) *****

31. Incubo notturno (02:41) ****

32. Melanconia autunnale (02:57) *****

33. Ansiosa attesa (04:18) *****

34. La bambola melodica (01:00) *****

35. Risvolti del terrore (02:02) ****

36. Tragedia nella notte (02:52) *****

Giallo fever: part 8

Title: Senza sapere niente di lei (Unknown woman)

Year: 1969

Composer: Ennio Morricone

After a long break I’m finally getting back to reviewing scores. It’s October and Halloween is around the corner so it’s again time to review some scores from Italian giallos or horror flicks. To start off the month I’m reviewing an album that consists of two scores by Maestro Morricone, one for a noir style investigative story about hunting down a scam artist and the second for a film that never made to the screen.

Senza sapere niente di lei has a pretty unusual score that never develops into straight giallo/horror territory but still creeps into the listener’s subconscious with its intoxicating fumes. The lovely opening title cue introduces the score’s main idea: a simple waltz whose ascending melody and jazz drumset keep the momentum going on. There’s also a more dreamlike B-section that also has some circus qualities to it. From that on the waltz or the B-section appear in every single cue in some form or another. For instance Un strana ragazza begins and ends with the slower version of the B-section transforming it into a restaurant source cue. Track 5 begins rather slowly but in the middle the waltz delivers some punch with a more forceful brass section. There is some lovely tremolo string work in L’avvocato e la ragazza whereas Sospetti e tenerezze has my favourite version of the waltz theme that starts around 1,5 minutes in. There’s something really moving about that intimate instrumentation which then develops into a more exciting conclusion with some added darkness in the backing chords.

A few cues break the mold though. Suspense is offered in form of Identikit di un delitto which has the rhythmic strings from the waltz and Dies irae -inspired harpsichord lines giving the cue that Morriconean giallo flavour. Frammenti d’estasi is a kaleidoscope of all kinds of dancing and tinkling colours that completely camouflage the B-section melody that the cue is actually built around. The final blow comes with Ricordo which isn’t that in-your-face but extremely unsettling with its use of abstract string writing that offers a somber ending that is luckily salvaged by the lullaby-like waltz tune that closes the album.

Is the score repetitive? Yes. Is it boring then? Well, some listeners might call it that but I’m personally captivated by the dreamlike quality that surrounds the music. It is by no means flashy or thematically brilliant but I think it’s wonderful that Morricone showed how you don’t need just atonal shrieks to accompany moments of suspense. A nice little waltz will do just fine.

Rating: ***1/2

Title: Lui per lei

Year: 1970

Composer: Ennio Morricone

As I said earlier, the album includes another score, well at least 19 minutes of it which is apparently all that was recorded for the film before it got cancelled. Maestro was so prolific at the time that he usually prepared cues for the film even before shooting and let the filmmakers move the cues around freely or cut the film to match the prerecorded cues. There is no additional info about the film but judging by the suspenseful score by Maestro Morricone, it was written for a giallo.

The first cue from the film, Stato confusionale is by far the most difficult on the album. There is a repeating musicbox melody similar to one Morricone used a decade later in a famous stairway scene. However this time there are no suspenseful strings or brass breaking the atmosphere but a constant electronic buzz, schizophrenic yet bouncy piano melody, ticking noises and a mourning female voice that sounds a lot like Edda dell’Orso. Though these elements have been used in other lengthy suspense cues during Maestro’s career, this time there is just too little variation and it can’t sustain its 9-minute duration.

The following two cues called In un ricordo include a pretty familiar theme to observant Morricone fans. It’s the same exact melody and orchestration that was used as one of the themes from 1971’s Una lucertola con la pelle di donna, a cue called Che strano to be exact. There is a whistling line that soars over some mellow grooves, nothing that exciting. Luckily it was resurrected to its final form a year later, because in context of that film it really works playing as an interlude to the surrounding brutality. The best cue on the album, Lui per lei was probably written for the main titles. It consists of odd chord progressions over a pop-inspired drum beat. Later a choir joins into the mix which is both spooky yet oddly satisfying when the chords land to a more familiar pattern.

The inclusion of this score is a great one because it breaks the monothematic structure of the first score. Unfortunately besides the main title cue, it remains as a curiosity of cues that would be later developed into more successful ones. Nevertheless as a Morricone fan it is fun to hear where those ideas originate from.

Rating: ***

Traclist:

1. Senza sapere niente di lei (Titoli) (02:03) ****

2. Una strana ragazza (02:59) ****

3. Identikit di un delitto (02:56) ***

4. Stato confusionale (08:53) ***

5. Senza sapere niente di lei (03:26) ****

6. Frammenti d'estasi (03:06) ****

7. In un ricordo (03:25) ****

8. L'avvocato e la ragazza (04:10) ***

9. Identikit di un delitto (#2) (02:26) ***

10. In un ricordo (#2) (03:26) ***

11. Sospetti e tenerezze (04:24) ****

12. Ricordo (03:00) ***

13. Lui per lei (03:08) *****

14. Senza sapere niente di lei (Finale) (02:55) ****

Giallo fever: part 7

Title: Lo squartatore di New York (The New York ripper)

Year: 1982

Composer: Francesco De Masi

The giallo genre was slowly fading away in the 1980s but there were still directors trying to revive it with fresh ideas. The iconic horror director Lucio Fulci changed the locale to America in his campy Lo squartatore di New York which nevertheless featured such shocking and gruesome murders that it had to be heavily censored in several countries. Francesco De Masi made the score and even though his career was also slowing down in the 80s, he still managed to compose colourful but cheesy music suitable for an urban atmosphere.

The score can be divided into two distinct categories, the first one being the 80s pop/disco inspired cues and the other the music for the killer scenes. New York one more day perfectly sets the mood for the hustle and bustle of the city with the catchy main theme that is very 80s cheese but highly entertaining. The melody is carried through different period-appropriate instruments such as electric guitars and synthesized elements. New York one night is a fine counterpart to the opening cue because the theme variations are more subtle and mellow with their textures for sensual trumpets and saxophones while still having similar drive and enthusiasm. In addition there’s also material that’s clearly more source music in style such as Puertorico club which offers Latin-inspired rhythms, a sax solo and shouting band members which probably serve their purpose in the scene but not as well on the album. There’s also a romantic theme called Fay which is a lullaby-like, dreamy duet for a trumpet and harmonica.

The suspenseful cues begin with Phone call which transforms the main theme completely, first performed by a mysterious flute solo over dubious harpsichords and trumpets. The atmosphere starts to warm up and turn more romantic before more dramatic, echoing saxophones appear and the main theme moves to the electric guitar. The atmosphere becomes icy cold in The ripper, which is an effective thriller track even though there seems to be very little happening. The intensifying feeling of dread is accomplished with flutes, keyboards, electric guitars and subtle percussion and ingeniously applied main theme variations. Slight unease is also added to the end of New York one more day’s reprise which disturbs the otherwise laid-back feeling of the track. Where is the ripper? clearly tries its best to be suspenseful but here the 80s instrumentation sounds almost comical and hence the cue doesn’t reach the same level as the previous killer cues. The score luckily closes with two brilliant yet hair-raising moments: Suspense and murder & Waiting for the killer. The first one features jazzyish harmonies and concludes with a shocking main theme statement and a musical knife stab before returning to the noir atmosphere. The last cue combines the best of both worlds because there’s a source cue feeling to the backing drum set and bassline but the echoing saxophones and vibraphones simultaneously create a feeling of growing suspicion which leaves the listener wanting more.

There’s a great blend of acoustic and electric elements here, and the 80s synths and effects are applied thoughtfully. I know that this score won’t appeal to everyone because it’s a 1980s score after all and you shouldn’t be expecting a large orchestral approach. De Masi’s technique shines through and there are an abundance of catchy melodies and clever variation to the thematic material which just makes me smile.

Rating: ****

Title: Una tomba aperta… una bara vuota (Night of the scorpion)

Year: 1972

Composer: Piero Piccioni

The album’s second score offers 20 minutes of more peaceful atmospheres after the in-your-face attitude of its predecessor. It’s for a Spanish-Italian co-production involving a man haunted by his previous, deceased wife and a series of murders committed by a gloved killer. Piccioni made a very subtle, beautiful score that is more reflective than murderous in nature.

Surprisingly the score doesn’t open with a main theme statement but with sinister music that clearly fits like a glove for a haunted house film. Helen where are you? is built around a repeating phrase for strings while the atmosphere around it transforms along with instrumental changes, such as ghostly organ or tremolo strings. Though the pace is slow there’s a mood of cleverly rising suspicion and horror that makes my skin crawl.

The peace is restored in It means love, the film’s main theme. It’s a piece for piano solo over soft strings, that is just so enchanting with its fragility. However below the peaceful surface lies steadily pulsating undercurrent for drum set and bass which prepares us for the impending doom. That pulse carries straight over to Haunting memories which combines it to the opening track’s ominous string writing. The reprise of It means love concentrates on the fragile strings while piano taking a background role before coming more prominent during the end. The melancholic mood is almost agonizing with its immense beauty.

Oddly the mood moves rather elegantly to the complete opposite, namely Ghost chase that features sinister strings which are almost as fragile at first as in the main theme but gain more power as the piece progresses. Dreaming again adds a real feeling of dread to the mix and makes me look over my shoulder as is clearly sounds like someone creeping around in dark hallways. A quiet electric organ takes over Moonbeans on the ruins which is also built around a steady beat like the preceding track but unfortunately isn’t as effective. The string melody from the opening track is reprised though with piano and eerie, textural strings. The final track of the score, Echoes of a name, is a complete version of a melody that began track 18. It is a mysterious cue that combines approaches heard in the suspense cues to jazz-inspired harmonies but sadly leaves the album quite unresolved.

It’s absolutely sublime how Piccioni has achieved so much with so little. This has to be one of the all-time subtlest thriller scores but still a nail-biting experience that holds you in its grip through the short duration. Besides the killer main theme there’s even strange ethereal beauty amid the suspense which really leaves the listener into a state of confusion as how to feel about the score. And that’s a good thing without a doubt.

Rating: ****

Tracklist:

“Lo squartatore di New York”

1. New York one more day (02:53) *****

2. Phone call (04:34) ****

3. New York one night (02:43) *****

4. Puertorico club (03:15) ***

5. The ripper (03:26) *****

6. New York one more day (02:09) ****

7. Fay (03:36) ****

8. Where is the ripper? (02:24) ***

9. New York one night (02:36) ****

10. Puertorico club (03:15) ***

11. Suspense and murder (02:49) ****

12. Waiting for the killer (02:43) *****

“Una tomba aperta… una bara vuota”

13. Helen where are you? (03:55) *****

14. It means love (02:24) *****

15. Hunting memories (02:17) ****

16. It means love (02:35) *****

17. Ghost chase (01:45) ***

18. Dreaming again (02:17) *****

19. Moonbeams on the ruins (03:14) ****

20. Echoes of a name (02:00) ****

Giallo fever: part 6

Title: Giornata nera per l’ariete (The fifth cord)

Year: 1971

Composer: Ennio Morricone

1971 was Morricone’s greatest year in film music. He also wrote a score for this rather unknown giallo which is no classic by any means but for some reason I've always loved this score ever since I heard the first time. It has an abundant number of great vocal moments and the whole score feels like a musical depiction of a nightmare.

Straight from the opening track Morricone introduces the dreamy quality which surrounds the film’s music. Giornata nera per l’ariete is the main theme, a moody melody with unconventional harmonies and la-la voice of Edda dell’Orso. It’s simultaneously eerily beautiful yet terrifying and the several performances start to get under the listener’s skin after a while. La voce bella turns the melody into a musicbox theme with a high vocal track that is soon joined by hair-raising string clusters. The end of the track is purely abstract descending string lines which form also the basis for the cue Resa. Voce has both the musicbox version and first hints at faster action music for pounding percussion and chaotic strings. By far the most interesting version of the theme is heard in track 17 where the harmonies seem completely random and like they were about to fall apart at any moment and the only thing gluing them together is Edda’s pristine voice.

The album starts with a few longer suspense tracks. Punte d’ago begins with Hitchcockian string writing (Psycho’s shower scene in particular) which turns to uneasiness during the second half. Severamente utilizes Edda’s vocals in a more sinister way on top of high strings and steadily beating percussion section. The end loses the voice and replaces it with buzzing electronic effects. Paura e aggressione delves further into madness with a strange bouncy feel with yet another Edda style in a form of fearful breathing. The title translates to ‘Fear and aggression’ and Morricone has found an excellent way of representing them both during this scene. The second part features abstract writing for many kinds of tinkling instruments.

The chaos in unleashed in Trafelato which is the most aggressive track on the album. It has a pounding drum base that has absolutely horrifying string and piano writing and distorted electronic guitars on top which create a swirling tornado of fear. The shock radiates nerve impulses straight down my spine and gut; it’s just that powerful in its madness. It is also chosen to be the bookend to the album and that version could actually be even more shocking and surely leaves the listener with no happy ending or satisfying resolution.

After the few tracks, which you probably can’t pay much attention to because you’re still recovering from Trafelato, we’re introduced to some source music. Giocoso, giocoso is actually the main title track and is a very easygoing keyboard melody with mellow grooves. II ripresa is a strange little menacing piece in the middle with a fast pace. The second mellow source track is Voce seconda which features Edda’s scat singing skills with sleazy slow dance backing. It flows smoothly to another dreamy version of the main theme. Un organo suona is the last source track, an unexpected doomsday chorale for a giant church organ.

Giornata nera per l’ariete is an underrated effort even among Morricone fans. However its suspense writing is highly varied and the melodies are intriguing. Not to mention all the different vocal solos which make the album almost feel like an Edda concert. This score isn’t for everyone but it’s another prove of Maestro Morricone’s talent and unique sense of cinematic music making.

Rating: *****

Tracklist:

1. Giornata nera per l'ariete (02:35) *****

2. Punte d'ago (03:04) ****

3. Severamente (05:17) *****

4. Paura e aggressione (05:40) ****

5. Giornata nera per l'ariete (03:15) *****

6. La voce bella (03:34) *****

7. Voce (02:00) *****

8. Resa (02:19) ****

9. Trafelato (02:29) *****

10. Giornata nera (01:26) ****

11. Ripresa (02:50) ***

12. Giocoso, gioioso (03:23) *****

13. II ripresa (00:48) *****

14. Voce seconda (02:34) *****

15. Giornata nera (01:31) *****

16. Un organo suona (01:07) *****

17. Giornata nera per l'ariete (03:38) *****

18. Giornata nera (01:11) ****

19. La voce bella (01:00) *****

20. Giornata nera (01:35) *****

21. Giornata nera per l'ariete (01:45) *****

22. Paura e aggressione (Versione breve) (01:52) *****

23. La voce bella (02:02) *****

24. Trafelato (Versione breve) (01:12) *****