Another
obscure project from the 60s for Maestro Morricone. The film is about a woman
who starts her own harem of men and at the end things turn deadly. The score is
a unique one and showcases once again Maestro’s chameleon like ability to adapt
to any film or situation.
The score
was previously paired up with Maestro’s score to Il ladrone but luckily Beat Records released a longer version in
early 2017. It’s still a very short one and presented here in a suite clocking
just over 30 minutes and divided into 5 sections. But for me it’s the perfect
length to discover this hidden gem.
The score
consists of two different themes highlighting two extraordinary musical
artists, Gato Barbieri on saxophone
and Bruno Battisti D’Amario on
guitar. These two really are the soul of the score which is otherwise scored
for a very small amount of other instruments. This chamber ensemble approach
nevertheless works and creates a wonderful feeling of sensual isolation for the
film’s remote locale.
A solo
saxophone opens L’harem primo and
slowly chimes, woodblocks, percussion fills and nostalgic Morriconean high
strings enter along with delicate brass chords. The real star is the saxophone
which develops from the main melody into more improvisatory verses before returning
to the original melody and then moving to another developmental section. The
atmosphere lingers at the border of atonality and tonality which gives the cue
some needed edge and hence prevents it from becoming boring. The solo sax version of the opening is
exactly that, just a 10-minute sax solo in the emptiness. On paper it sounds ludicrous
and I wonder who would even manage to listen to it completely. But right from
the first notes I was hooked. The intense performance goes through so many
emotions and the wonderful echo of the recording elevates it even further. At
times the sax sounds like it’s part of a sensual bar scene, sometimes like a
soundtrack to some film noir flick and sometimes like a screeching animal howling
at the moon. L’harem secondo is built
like the opening cue but there is an added woodwind layer in the orchestral
section and the brass chords become more prominent as the cue progresses
resembling Maestro’s signature ‘urban chords' depicting city life. The
atmosphere however stays at a comfortably low-key level and ends the score with
mysterious atmospheres and some wonderfully unresolved tension.
D’Amario’s
showpiece is called Sei corde (lit. ‘Six strings’) which actually has some
Middle-Eastern influences that the film’s title might suggest. It begins rather
slowly along with some pounding percussion backing and then turns into a
furious dance for the solo guitar and percussion. It’s an extremely groovy yet
brutal track which differs completely from the meditative nature of the
saxophone-heavy cues. You almost forget you’re listening to a film score rather
than some ethnic folk group just jamming in their pagan rituals. The reprise in
track 4 skips the cue’s slower opening and goes straight into the dance
sequence that doesn’t hold anything back and goes even further into the violent
madness. The album ends with a source cue from another Morricone score Menage all’italiana (1965) which is a
great, fast party cue complete with twanging surf rock guitars and some needed
attitude to end the album with a more positive note.
During the
first few listens I had some difficulties with getting into the essence of this
score. But the more I listen to it, the more I love it. It just floats so
beautifully from one atmosphere to another and then being temporarily disturbed
by the ethnic dancing. It might not be for everyone though since some might
discard the meditative quality of the music and consider it as boring. A top-quality
score by the Maestro and a great addition to your collection if you can bear
his writing for smaller ensembles.
Rating: *****
Tracklist:
1. L'harem
primo (07:06) *****
2. Sei
corde (05:21) *****
3. L'harem
primo – solo sax (09:55) *****
4. Sei
corde (#2) (02:45) *****
5. L'harem
secondo (06:26) *****
6. Bonus
track: Fermateli! (boutique scene source music) (02:45) ****
Title: Ursus
nella terra di fuoco (Ursus in the land of fire)
Year: 1963
Composer: Carlo Savina
Ursus, sometimes
renamed as the son of Hercules, was another character who appeared in several
Italian films in the 60s. A third film in the series forces him to face several
enemies in order to save a princess. As the name suggests, the film has associations
with fire and Carlo Savina’s score reflects these connections as well. He
composed a score which differs a lot from his American contemporaries as it’s
clearly inspired by the techniques of the 20th century classical
composers.
This is
most apparent by the use of texture rather than melody. The only traditionally
melodic aspect of the score is the rarely heard love theme but otherwise the
score consists of challenging rambling orchestral sounds and moods which offer barely
any time to breathe. However that doesn’t mean there are no recurring melodies,
but they are motivic in nature and not easily recognizable if you don’t pay
attention.
Titoli sequence establishes the bleak mood immediately
with menacing brass fanfares and later with the use of cymbals and timpani
resembling the sound of thunder. There’s also an introduction to the most
abundant motif, a horn-call that begins with a tritone which also opens the
following Seq. 2. That latter cue
also ends with a victorious motif, one of the only moments when the score gets
some playing in a major key. This motif is reprised in Seq. 3 with a more thunderous accompaniment before the horn-call
signals a change into more mysterious moods created with brilliant harp arpeggios.
Seq. 4 begins with another recurring
motif, a devastating and dramatic melody which drains every possible grain of
joy surrounding it. A more subtle string version of that very motif ends the
following cue Seq. 5.
The score
has also time for a few source-music like cues. The first one is Seq. 6 which has slightly Middle-Eastern
harmonic base and an excellent, seductive bass clarinet solo creating a sort-of
court dance. Seq. 12 on the other
hand is a piece for a solo harp, an actual moment of sentimental beauty. The
score’s nostalgic love theme is first heard at the end of Seq. 10 but abruptly interrupted by the brass fanfares. Another
version of the melody starts Seq. 17 but
that moment is short-lived too turning instead to a brutal slave-motif complete
with clanging anvils. Another romantic melody is present in Seq. 24 based on the victory motif but
later changing to the love theme performed by the full string section.
As the
score progresses, the action tracks get even more furious. Seq. 7 and 9 are like a growling
beast of the underworld. The massive layers of timpani-playing and thunderous cymbals
dominate Seq. 11 before it cools back
down to the mystery. The victory motif plays momentarily in Seq. 15 and 18 and tries to break through the banging of cymbals and dangerous
horn motifs but fails. The slow-burning tension of Seq. 22 and 23 is once again
created with massive percussion writing on top of which the horn-call motif
gets a full rendition concluding to a chaotic crescendo. In Seq. 25 the brass writing is just ugly
with its brutality before ominous moods for electric organ take over the track.
More subtle
suspense is written for a ghostly saw playing on top of a base formed by
buzzing electric organ chords, a trademark instrumental choice by Savina. These
are present for instance in Seq. 9 and
27, latter of which features the
aforementioned slave-motif on a low-key piano and ends with the devastating
string motif and a short reprise of the love theme. Seq. 14 and 16 turn a bass clarinet into a horror
instrument which creates eerie, abstract moods along with high register organs
and quiet timpani hits. Seq. 19 and 26 instead create these abstract
unmelodic moments with just the percussion section, or combined to the organ in
Seq. 21.
The score
reaches its climax from Seq. 29 onward.
The first sign of this is the full appearance of the victory motif which then
turns to the suspenseful harps and later to menacing organs and slow-building
dramatic chords for full orchestra. The following Seq. 30 reprises the ghostly saw playing along with timpani hits
that shake the room, later returning to one of the biggest statements of the
horn-call motif. A more hopeful, major key brass fanfare is heard in Seq. 31 whereas Seq. 32 is dominated by gloriously victorious orchestral chords. They
continue to the sublime Finale cue
which ends the score with a massive orchestral rise first to the love theme and
then momentarily back to the menacing fanfares but at the last moment turning back
to a bright major key closure.
Savina’s
score surely is a challenging but highly rewarding experience once you get
familiar with the different motifs and realize how cleverly they are utilized
within the score. Some listeners accustomed to the American film scores from
the same era might find the experimental musical techniques alien. For me they
offer a new viewpoint on how to score a film like this and hence create a
unique listening experience.
Rating: ****
Tracklist:
1. Ursus
nella terra di fuoco (Titoli - Seq. 1) (02:10) ****
2. Ursus
nella terra di fuoco (Seq. 2) (01:47) *****
3. Ursus
nella terra di fuoco (Seq. 3) (01:37) *****
4. Ursus
nella terra di fuoco (Seq. 4) (01:15) ***
5. Ursus
nella terra di fuoco (Seq. 5) (01:15) ****
6. Ursus
nella terra di fuoco (Seq. 6) (01:30) *****
7. Ursus
nella terra di fuoco (Seq. 7) (01:36) *****
8. Ursus
nella terra di fuoco (Seq. 8) (01:30) ****
9. Ursus
nella terra di fuoco (Seq. 9) (01:32) ****
10. Ursus
nella terra di fuoco (Seq. 10) (02:05) *****
11. Ursus
nella terra di fuoco (Seq. 11) (02:00) ****
12. Ursus
nella terra di fuoco (Seq. 12) (01:00) *****
13. Ursus
nella terra di fuoco (Seq. 13) (01:29) ***
14. Ursus
nella terra di fuoco (Seq. 14) (02:49) *****
15. Ursus
nella terra di fuoco (Seq. 15) (01:30) *****
16. Ursus
nella terra di fuoco (Seq. 16) (01:11) ****
17. Ursus
nella terra di fuoco (Seq. 17) (01:16) *****
18. Ursus
nella terra di fuoco (Seq. 18) (01:32) *****
19. Ursus
nella terra di fuoco (Seq. 19) (02:24) **
20. Ursus
nella terra di fuoco (Seq. 20) (01:48) ***
21. Ursus
nella terra di fuoco (Seq. 21) (01:20) ***
22. Ursus
nella terra di fuoco (Seq. 22) (01:44) *****
23. Ursus
nella terra di fuoco (Seq. 23) (02:29) ****
24. Ursus
nella terra di fuoco (Seq. 24) (01:55) *****
25. Ursus
nella terra di fuoco (Seq. 25) (01:39) ****
26. Ursus
nella terra di fuoco (Seq. 26) (01:14) ***
27. Ursus
nella terra di fuoco (Seq. 27) (02:34) *****
28. Ursus
nella terra di fuoco (Seq. 28) (02:38) ****
29. Ursus
nella terra di fuoco (Seq. 29) (03:38) *****
30. Ursus
nella terra di fuoco (Seq. 30) (03:05) ****
31. Ursus
nella terra di fuoco (Seq. 31) (00:52) *****
32. Ursus
nella terra di fuoco (Seq. 32) (01:15) *****
33. Ursus
nella terra di fuoco (Finale - Seq. 33) (01:30) *****
Title: Maciste
nelle miniere di Re Salomone (Maciste in King Solomon’s mines)
Year: 1964
Composer: Francesco De Masi
Maciste was
an Italian Hercules-like strongman character who first appeared on the big screen
during the silent film era and later was resurrected by the peplum films of the
60s and 70s. This time he has to save a village from working as slaves in a
gold mine. Only a few tracks from the score by Francesco De Masi have survived
to this day and they were released along with two other short scores in 2010.
The ominous
opening cue Outline of history has De
Masi’s typical dramatic orchestral writing that unfortunately isn’t that
interesting until the end when a short fanfare is introduced probably depicting
the hero himself. Disappointingly that heroic mood is short-lived because the
continuation in Mystery in the mines is
just dull suspenseful music that has barely any melodic hooks to grab on. Some
of the woodwind lines are rather nice but they’re overshadowed by the
surrounding dullness. Maciste and the
King offers more uninteresting drama before the pace fastens and menacing
brass fanfares build into a brief action statement that again dissolves before
developing into something more meaningful. The score is at its loudest in Destruction of the mines however I once
again find myself being bored by the supposed bombast that seems to lack any
thematic thought behind it. Judging by the title I would imagine this cue to be
the film’s final action scene, but judging by the music it never reaches the
right scope. The short finale cue builds into a typical hopeful orchestral
crescendo that would be better if only some of the thematic material heard here
would have been present in the preceding tracks.
The lack of
a hummable melody and feeling of emptiness behind even the larger action
statements make this score quite forgettable. It is by no means unbearable but
just falls flat compared to the other two scores on the album.
Rating: **1/2
Title: La
rivolta delle gladiatrici (The arena)
Year: 1974
Composer: Francesco De Masi
The second
score featured on the album is from a gladiator/exploitation flick about slave
women who have to fight for their freedom in a gladiator arena. A great action
ostinato opens the score after a cool brass fanfare on top of which the film’s
main theme is heard on the woodwinds. This surprisingly emotional melody is
heard in full in Le gladiatrici with
another surprising addition, a mournful humming choir which disappointingly is
never heard again. The lullaby-like nature and the romantic harmonies
nevertheless build into an extremely moving and nostalgic piece of music that showcases
De Masi’s stellar thematic writing.
Unfortunately
this score suffers from the same problems as Maciste. You see, many of the cues can’t hold the listener’s
interest because they offer barely anything to hold on. Sfida nell’arena for instance has only sparse brass fanfares over a
slow, meandering bassline again missing any thematic threads. Combattimento tries to amp up the
atmosphere with percussive action writing but the overall minimalistic approach
and the questionable quality of the brass bursts just doesn’t work. Luckily the
main theme returns in a subdued version in the cue’s latter part Desolazione. Morte nell’arena returns to the duet of percussion and brass which
probably is suitable for the scene in question but really doesn’t musically
depict the threat of a gladiator battle. Even the main theme can’t save the
dullness of the following cue that probably should be one of the film’s
climatic action sequences but just fails musically. The last cue doesn’t offer
anything new and even the short quote of main theme starts to sound uninspired.
There’s no big resolution either but everything just fades away in a quiet and
beaten down manner.
The opening
action and brilliant main theme could have resulted in a much more thrilling
listening experience but unfortunately the minimalistic approach for the
moments of action just doesn’t work without the visuals. Probably due to budgetary
reasons especially the brass section sounds very small hence creating a very
thin sound. Taken all this to account the score unfortunately feels like a
missed opportunity.
Rating: ***
Title: Il
figlio dello sceicco (Kerim, son of the sheik)
Year: 1962
Composer: Francesco De Masi
By far the
best score on this release is the last one, Il
figlio dello sceicco. The film about two rivaling brothers who are battling
for the domination of the desert received a colourful score by De Masi filled
with a vast contrast of styles ranging from Middle-Eastern moods, brutal action
setpieces and a few lovely romantic passages.
Probably
after the previous dull cues the beginning, Aurora
sul deserto sounds just like a breath of fresh air. But also by itself it’s
a magnificent composition that prepares the listener for the wonders of the
Middle-East. The main theme introduced here draws inspiration from oriental
atmospheres but the harmonic touches are pure De Masi. I also love how
seemingly simple the melody is but when you listen closely you realize the underlying
changing time signatures and rhythms. A nostalgic love theme is heard in Trionfo dello sceicco before an
earth-shatteringly majestic rendition of the main theme ends the cue in a
glorious orchestral crescendo. La tenda
dell’odalisca is the score’s most romantic cue which bounces between the love
theme and the main theme but has also surprising bursts of suspense heard
previously in Mistero fra le sabbie.
Love theme returns also in Verso l’oasi
before turning into a dramatic action cue with Middle-Eastern brass fanfares
and menacing low piano lines.
The abundant
action writing is very brutal compared to the romantic moods. Combattimento nel deserto has menacing
brass fanfares amid rhythmic string writing and bursts of larger orchestral
forces clearly signaling a large-scale battle sequence. A driving rhythm
continues in Galoppo e attesa over
which the majestic main theme receives a heroic rendition. The previously mentioned
action fanfares are heard in a major key arrangement at the beginning of Agguato alla carovana which return after
a short moment of sneaky suspense blasting through a wall of sound produced by
the massive percussion section. After another recurring descending action motif
of Introduzione e angoscia the mood
cools down momentarily reprising the action statements in a more peaceful
manner. Mistero fra le sabbie goes
even further offering nocturnal mysterious tension that is just a joy to listen
to due to De Masi’s clever and colourful orchestrations. These moods open also Battaglia fra le palme which then
develops into another massive action cue with occasional glorious main theme
statements signaling the victory for our heroes. But it’s not the complete
victory yet because eventually the tension and drama return again. Wretched
variations of the main theme and action fanfares are heard in L’imboscata dello sceicco which later
features more furious action that continues into a more laid-back yet menacing caravan
cue Pericolo nella Casbah that momentarily
changes to a more hopeful mood before returning to the drama. The final two
cues feature similar action music heard in the other cues but the overall mood
is more hopeful though still very dramatic. Unfortunately there is no big
finish but the score just ends abruptly with no clear musical clue whether or
not the hero won.
The score
feels a bit like one long action cue which showcases some of De Masi’s greatest
orchestral writing. However the brutal nature may be off-putting for some
listeners and the lack of a proper resolution also diminishes the listening
experience a little. Nevertheless it’s the score to return to on this release
due to the great melodic moments and in-your-face attitude presented
throughout.
The 90s is
probably my least favourite decade in Italian film music and most Italian
albums I own from that period are by Maestro Morricone. Even he seemed to
recycle a lot of his old tricks and many scores from that time felt quite
uninspired. Luckily there are some exceptions like the score to a TV
miniseries Missus which is a project
that I could once again find barely any information about. Supposedly it is
about a Vatican priest who is recruited to help out the resistance movement in
the Soviet Union during the cold war. The score was released over a
decade later in 2007 and offers a heavy reliance to Maestro’s previous works but also
some ingenious new tricks.
The words
that sum up the whole score are meditative and slow-burning. The melodies take
their time to develop and are by no means flashy but extremely understated. However
this time that’s a complement and the reason why the music possesses such
beauty. Take the opening cue Per Olga for
instance. It quotes Maestro’s Deborah’s
theme from Once upon a time in
America almost note to note (which by the way is one of Maestro’s most overrated
pieces, not my favourite at all) but after a while goes into its own way, never
purposefully trying to milk tears. Instead the mood stays in a comfortable
level where the emphasis is on the beautiful orchestrations and their delicate
performance. Viaggio verso dove continues
in the same vein but it has an even prettier long-lined theme with a
heart-wrenching oboe solo (or solo organ in the reprise) which then turns to a
more positive B section for warm strings and woodwinds. I also have to praise
the performance by the orchestra which sounds so celestial, like the playing is
coming from somewhere beyond our time. The first version of Espressivamente umano has just
Morriconean romantic string chords and simple piano lines but in its longer
reprise the main melody gets some development and there’s a dramatic surge by
the whole string section which offers the most beautiful single moment on the
album. The last romantic theme is perhaps the most dramatic one, namely Dolcemente espressivo which just aches
with suppressed love that tries to break through by rising up into a crescendo
but failing with devastating sadness.
Of course
among the romantic atmospheres there is time for some action and suspense given
the subject matter. Ritorno a Mosca
has a surprising electronic tinkling rhythm underneath which gives the piece
momentum even though the accompanying dramatic melody isn’t that memorable by
Maestro’s standards. The album’s most interesting cue by far is Nel vortice which consists of aleatoric
woodwind phrases played independently of each other. They form the basis and
then are joined by an electric bass rhythm and later some loud, urban brass
chords. The combination of contemporary classical elements and modern
electronics sounds weird on paper but works brilliantly creating a rather
unique experience. The last action-orientated cue is Senza ritorno where a dramatic melodic line moves first from the trumpets
to the woodwinds and then to the strings and finally the brass, simultaneously
having a constant movement underneath provided by rhythmic staccato brass and
woodwinds.
The two
longest cues on the album probably offer the most tedious moments for listeners
who aren’t keen on Maestro’s experimental side. The wandering, slow-moving high
strings of Missus are used in many other
suspense tracks by Maestro, however this time there is a certain transparency to
them thanks to the orchestral performance. At times the harmonies might even
sound somewhat beautiful even though it is an atonal composition at its core.
The 10-minute monster of a cue Nel buio,
la solitudine is more melodic though the harmonies sound mostly quite off.
The whole cue is built around a repeating 8-note motif (similar to one
Morricone used in the film Rampage)
which is variated in occasional moments of quieter reflection before the motif
returns in a more menacing ostinato-like setting on top of which the rest of
the orchestra plays slower, macabre countermelodies.
Missus isn’t the most original Morricone score when you
judge its romantic material. However the few moments of movement are handled
quite intelligently and uniquely. Nevertheless the dramatic impact of the music can’t be denied, and the understated beauty of the sublime orchestral
performance is a good reason for a relisten from time to time.
The wonders of Aladdin is an Italian-American-French
co-production directed by Mario Bavawho
later has received a cult-status as a filmmaker. The score for the picture was
written by an Italian film music legend Angelo Francesco Lavagnino who clearly
took inspiration from the 1001 nights but kept many of his trademark sounds as
well. The problem I’ve had with some of Lavagnino’s scores is that he had the
tendency to overscore. I realize that it was how films used to be scored at the
time he was at his most prolific and he certainly wasn’t the only composer
doing so. But every single emotion had to be Felt with a capital F, every
romance had to be Romeo & Juliet etc. What makes a good film score for me
is also to know what to leave unscored and to have a sense of subtlety. Despite
everything I said, I completely fell in love with this colourful score even
though it contains some of the things I complained about. There’s such a sense
of fun throughout the whole score that it leaves you smiling long after the album
is finished.
The album
starts with Main title which
establishes the desert scenery immediately with its predictable yet fun chord
progressions. However the piece starts to develop into a fast Middle-Eastern
dance which probably is the most convincing thematic thread for the title
character and is reprised a few times later on. The pace just keeps fastening
with every added instrumental line before the mysterious yet dramatic strings
make their return. The ominous, exuberant brass fanfare that opens The procession probably represents
Aladdin’s foe, The Grand Vizier but luckily turns into a more mellow piece of music
with softer percussion and wonderful ethnic instrumental touches. The marketplace is a piece of more
traditional bazaar music that once again creates mental images about the locale
as any good film score should.
The first
longer action setpiece is Aladdin on the
run which features action motifs that also sneak into many other cues with
several disguises. The atmosphere balances between comical piano, woodwind and
xylophone –led passages which are interrupted by sudden bursts of mysterious
strings and an array of different pounding percussion instruments. The Genie is represented with mysterious
solo flute and harp textures whereas The
deadly mechanical doll receives similar magical instrumentation that turns
sour at the end. Djalma’s dance is
similar to the opening bazaar music -like dance pieces once again with the
fastening rhythm.
The
adventure aspect of the story continues in On
the way to Basora which is a majestic, forward-moving piece that offers
brief glimpses of melodic brilliance. Princess
Zaina receives her own theme which is heard a few times on the album. This long-lined
melody isn’t instantly hummable because it surprisingly includes some
impressionistically fluffy harmonies and doesn’t follow the regular Hollywood
route. Nevertheless it’s a magnificent composition and an extremely attractive
piece of music, one of the score’s highlights for sure. The other long setpiece
Attack on the caravan starts with the
similar majestic harmonies that were featured in the previous cues associated
with the caravan. However soon a steady percussion rhythm appears with low-key
rhythmic piano passages and dramatic brass fanfares turning the atmosphere
towards more serious issues for our heroes. Aladdin’s theme receives also a
dramatic variation on top of the underlying chaos.
The score’s
climax begins with Aladdin’s dance,
another full version of Aladdin’s theme which begins after a short woodwind
introduction before the familiar fastening rhythm and accompanying xylophones
appear along with the furious fiddle solo. Palace
fight is a short action statement dominated by strings and martial brass
writing which makes then way to the low-key piano rhythms. The atmosphere of
the caravan attack makes a return in The
Grand Vizier’s horsemen which cools down to the final duel which isn’t an
epic Hollywood action ending but a series of tango-like rhythms from the saloon
piano and comedic whistles. The score ends with The flying carpet which is a massive version of Princess Zaina’s
theme that gives a warm sendoff in the best romantic tradition.
The album
ends with some alternate versions including for instance a faster version of Princess Zaina’s theme which is just
lovely, and a longer film version of the Finale
with a glorious crescendo at the end. There are also a few different
recordings to the US cut of the film that aren’t conducted by Carlo Savina like
the rest of the score rather than Mario Ammonini. The differences aren’t really
that noticeable but the orchestral performance, especially the brass
instruments sound slightly different compared to the rest of the score.
The wonders of Aladdin has everything you could hope for since
everything feels like a part of a larger whole. It’s the best score I’ve heard
by Lavagnino and probably will change some of my preconceptions about his music
and encourage me to delve more into his vast body of work. If you can still
find the album somewhere I highly recommend picking it up because it’s
apparently sold out already with only a small limited number of 400 copies
floating around. Bravo both to Maestro Lavagnino and to Alhambra Records for
releasing these rare gems on a regular basis!
Rating: *****
Tracklist:
1. Main title
(02:17) *****
2. The procession
(01:27) *****
3. The marketplace
(01:18) ****
4. Aladdin
on the run (05:41) *****
5. The
Genie (01:13) ****
6. Djalma’s
dance (01:13) ****
7. The caravan
- The Grand Vizier of Basora (01:04) ****
8. The
deadly mechanical doll (00:31) ****
9. The
caravan sets off - On the way to Basora (02:04) *****
10.
Princess Zaina (Longer version) (02:06) *****
11. Attack
on the caravan (05:27) *****
12. Mirage
(01:31) *****
13. The
Amazons (01:47) ****
14. The
Genie is summoned again (01:29) ****
15. The
Genie and the Amazon (00:59) *****
16. The
Grand Vizier - The Magician (01:14) ***
17. Prison
break and recapture (03:33) *****
18. The
Dancing doll (01:02) *****
19. Secret
way to the palace (01:08) *****
20. The
skeleton - The cows - The prisoners escape (01:16) *****
21. The
babies are switched - Rescue of the King‘s newborn baby (01:07) ****
22.
Princess Zaina enters (00:44) *****
23.
Aladdin‘s dance (02:06) *****
24. Wedding
gift from the beggars (00:47) ***
25. Palace
fight (01:18) *****
26. The
Grand Vizier’s horsemen (01:22) *****
27.
Aladdin’s duel with the Grand Vizier (02:46) *****
28. The flying
carpet – Finale (Film version) (01:08) *****
Bonus
tracks
29. The
marketplace (Longer version) (01:32) ****
30.
Princess Zaina (Film version) (01:23) *****
31. Finale
(Longer version) (01:21) *****
32. Attack
on the caravan (US version) (05:31) *****
Originally
a film in 1967 then made into a three-part TV miniseries 10 years later. Bruno
Nicolai was associated with both the projects, as he conducted the first score
by Armando Trovajoli and composed the music for the TV series. Otherwise there
is no musical connection between the projects. Nicolai took inspiration from
the locale and created a score that might just sound nonchalantly light and
breezy at first but reveals some depth during further listens.
The score
begins by introducing the two primary themes which both are built in a same
way: they have a melancholic beginning usually played by solo instruments
whereas B section brings the romantic flavour of Sicilia sometimes even
featuring lovely string arrangements. In
Sicilia has the unmistakable sound of Alessandro Alessandroni’s high
whistling introducing the A section melody before the romantic B section
appears. As the cue goes on the romance is amped up with modulation and summery
accordion and theatre organ. A counterpart to the opening is A letto which is the melody the score
most returns to. It starts with just the accordion and guitar and this time the
B section has only minimal arrangement for mandolin and underlying tango
rhythms from the accordion. The following Le
sorelle goes even more restrained with its instrumentation before it turns
into a short lively tango piece.
The two
main themes feature heavily in many of the album’s cues. The first one has
probably its best version in Don Procopio
where the whistling is replaced by a melancholic solo accordion which is seriously
moving in its simplicity. A surprising variation is heard in track 13 where the
melody is heard over martial drums and serious string section and later joined
by military trumpet calls. Alessandroni’s whistling returns in track 24 in a
more restrained fashion. The album’s ending cue on the other hand features a
moving oboe solo and offers a summery closure with romantic accordions. The
second theme isn’t as interesting but there are some clever variations like in
track 6 which has an overdramatic accompanying piano performance or Don Giovanni where the dramatic tango
version is made grander by an appearance of the strings. The odd comical opening
to tracks 19 and 25 reminds me of some crime flicks of the time.
Besides the
two themes there are other source music inspired cues as well. Mediterranea’s spooky beginning has odd sproings
made with Jew’s harp over an organ line before the mood changes completely to a
happy dance perfect for a summery beach stroll but the oddness still continues
underneath with more sproings. The reprise of the dance melody in track 14 is
just incredibly fun with soothing string countermelodies that it creates easily
one of the album’s best tracks. Marranzanu
is a piece for just solo Jew’s harps which aren’t the most melodic of
instruments hence creating a moment of fleeting annoyance. There’s also a short
piece of Medieval-sounding theatre music in Teatrino
which unfortunately gets rather repetitive eventually. A piece called La giostra aka ‘merry-go-round’ starts
strangely with rather dark atmospheres that cleverly introduce a melody that
turns into an actual cheery merry-go-round tune during the cue’s latter half. Inverno a Milano has a feeling of the primary
themes with its construction but this time the melancholy isn’t released into a
gorgeous major key B section rather the sorrowful intensity continues through
the whole cue. The following wedding organ of Sposalizio is a surprising change of pace but nevertheless
beautiful in its own right. A straight-up ballroom tango for a violin-piano duo
called Ninetta is passionate and
dramatic but unfortunately doesn’t reach a proper climax. Luna di Cibali on the other hand brings a moment of pure impressionistic
beauty with a guitar solo over jazzy organ harmonies.
As you can
see from my review the score to Don
Giovanni in Sicilia is a mish-mash of styles inspired mostly by popular
music and having a few nods to classical composers as well. The repetition of A letto/Le sorelle theme can be a bit
tiring but it doesn’t really bother me that much eventually. Though it’s great
Kronos Records decided to release this much music by Nicolai, the album is
rather hard to enjoy with one sitting and would need some trimming to be fully
immersed in.
