Spaghetti and cowboys: part 8

Title: Sono Sartana, il vostro becchino (I’m Sartana, your angel of death)

Year: 1969

Composer: Vasco Vassil Kojucharov & Elsio Mancuso

I’m concentrating my reviews mostly on Italian film composers but for Vasco Kojucharov I’m making an exception. He was born in Bulgaria but made his film composer career mostly in Italy scoring a number of Spaghetti Western films. A few of his scores were credited as collaborate projects with another composer Elsio Mancuso under the alias Vasco & Mancuso. This Western score lists both composers in many sources but the album only credits Kojucharov as the sole composer. Who knows whether or not it is a joint project or a solo one but Kojucharov’s distinctive style is still heard throughout this plentiful 50-minute album.

The score consists of three elements and their variations. By far the best one is the title theme which is heard right from the get-go. It’s an electric-guitar waltz with a driving percussion backing resembling galloping horses. It’s certainly catchy and heroic and the arrangement for the entire orchestra is exquisite. The A section has some jazzy chords which is another big plus and makes the tune more colourful. Seq. 5 includes a quiet variation for solo harmonica performed by Franco de Gemini. A laid-back campfire version of Seq. 15 for the harmonica and xylophone is another nice addition which resolves eventually to the full comedic version of the secondary theme. The following cue moves the melody to solo organ and harpsichord after some comedic interruptions by the low woodwinds. The most massive arrangement which ends into a victorious crescendo is disappointingly not the last cue, but track 22, which is followed by a few other slow cues mostly filled with suspense music and a few main theme statements.

The suspense music is another prominent element heard first in Seq. 2 & 3. These moments are scored for tremolo strings and chromatic chord changes often written for harpsichord, electric guitar or xylophones resolving to an unexpected minor chord. If the suspense moments don’t utilize this chromatic motif, they consist of solo percussion that sometimes sounds like a practice take of a drummer rehearsing between the cues. In the film they probably work but on the album they lose their magic and become boring. The best suspense moment is Seq. 17 in which elements of the main theme are fused with the jazzy solo percussion and organ chords creating otherworldly soundscapes.

The last element is the comedic theme for the sidekick performed by a banjo. This melody is first heard in Seq. 4 after a unique harpsichord moment. It’s surprisingly similar to Santa Claus is coming to town, whether or not intentional, I don’t know. This is another tune similar to the suspense motif which becomes a little tiring after a while. It’s unfortunate that the main theme gets several great variations but this secondary theme basically sounds the same every time it appears.

Besides these elements I have very little to say about the album. The mood may change a lot within a single cue from a main theme statement to suspense and an appearance of the secondary banjo theme. Some source music like moments appear in between like Seq. 12, which is a cheerful solo harpsichord piece suitable for a saloon setting, or Seq. 20 which is a classically inspired piece of solo organ music probably for a funeral scene.

Sono Sartana… is a hard album to thoroughly enjoy. Especially the suspenseful moments would benefit from some trimming and become tiresome after a while. The main theme however is stellar and the reason for repeated listens. Hopefully this score and its potential success would make room for more obscure titles from Kojucharov’s catalogue to get released. The talent is there but the execution could have been more interesting.

Rating: ***1/2

Tracklist:

1. Sono Sartana, il vostro becchino (Seq. 1) (02:25) *****

2. Sono Sartana, il vostro becchino (Seq. 2) (02:52) ***

3. Sono Sartana, il vostro becchino (Seq. 3) (01:15) ***

4. Sono Sartana, il vostro becchino (Seq. 4) (01:37) ****

5. Sono Sartana, il vostro becchino (Seq. 5) (01:17) *****

6. Sono Sartana, il vostro becchino (Seq. 6) (01:14) ***

7. Sono Sartana, il vostro becchino (Seq. 7) (01:40) ****

8. Sono Sartana, il vostro becchino (Seq. 8) (03:01) **

9. Sono Sartana, il vostro becchino (Seq. 9) (02:40) ***

10. Sono Sartana, il vostro becchino (Seq. 10) (02:28) ***

11. Sono Sartana, il vostro becchino (Seq. 11) (01:00) ****

12. Sono Sartana, il vostro becchino (Seq. 12) (02:05) ***

13. Sono Sartana, il vostro becchino (Seq. 13) (02:12) ****

14. Sono Sartana, il vostro becchino (Seq. 14) (01:30) ***

15. Sono Sartana, il vostro becchino (Seq. 15) (02:21) *****

16. Sono Sartana, il vostro becchino (Seq. 16) (01:58) ****

17. Sono Sartana, il vostro becchino (Seq. 17) (03:17) ****

18. Sono Sartana, il vostro becchino (Seq. 18) (02:00) ****

19. Sono Sartana, il vostro becchino (Seq. 19) (01:29) ***

20. Sono Sartana, il vostro becchino (Seq. 20) (01:16) ****

21. Sono Sartana, il vostro becchino (Seq. 21) (02:09) ****

22. Sono Sartana, il vostro becchino (Seq. 22) (01:00) *****

23. Sono Sartana, il vostro becchino (Seq. 23) (03:25) ****

24. Sono Sartana, il vostro becchino (Seq. 24) (03:40) ****

Spaghetti and cowboys: part 7

Title: Navajo Joe

Year: 1966

Composer: Ennio Morricone

Inspired by the extreme heat we’ve been having currently in Finland, which has turned the area surrounding my apartment into a near wasteland, I decided to revisit some Western scores. Among them was also Navajo Joe, which is one of the most brutal musical creations for the entire genre.

The album opens with haunting screams of I cantori moderni choir highlighting the voice of one Gianna Spagnulo who creates simultaneously Native American yet jazzy qualities with her performance. The main theme begins with a simple guitar riff which is afterwards heard constantly during the score’s suspense tracks. After a while an array of percussion instruments bang away and the choir starts shouting the name of the titular hero. It’s bizarre to say the least but immensely satisfying. The road to Esperanza starts with a more plain arrangement for the choir and solo percussion with an abstract, short interlude but eventually turns into a hopeful rendition including the unmistakable voice of Edda dell’Orso. Sweet lullaby-like renditions of A dollar a head and Joe’s departure offer some relaxing atmospheres; a musical oasis in the middle of the overall madness. Both orchestral and choral forces are once again released in Ride into town, probably the greatest main theme statement apart from the titles. Joe and his woman offer peaceful orchestral bliss with slight touches from the choir while From Esperanza is another massive orchestral tour-de-force with stunning vocal performances.

Besides the main theme, the album is built around moments of suspense and some source music style pieces. A silhouette of doom starts with the main theme riff on piano which makes way to staccato beats and brutal string and woodwind harmonies clashing with the wailing voice. This music returns later in devastatingly savage fashion in Torture which is the most difficult track to enjoy. Train massacre and Fear and silence offer two different suspense devices, the first concentrating on main theme variations while the other resembles a sneaking-around cue heard in nearly every Morricone Western. You know, the one with solo percussion over only a minimal support from other instruments. While effective in the film, not that much on its own.

The lighter side of the score is heard in The Peyote saloon, a happy duet for piano and strummed banjo. An Indian story is a beautiful, sparse piece which highlights a solitary female voice and an ethnic bass flute. The two harmonica cues are also beautiful in their understated play around the main theme. The following The Navajo escapes is a mournful, dark piece for solo strings which Morricone does so well. While the score is mostly monothematic there is another theme introduced rather late in The demise of father Rattigan with a glorious arrangement for strings, woodwinds and guitar arpeggios. Another version of this tune actually ends the film with a victorious hymn to the fallen called After the end concluding into the majestic vocal performance by Spagnulo. The bonus tracks include Raw hides and dead hides, a piece with sad solo harmonica alternating between raving vocals and percussion, and reprises of the suspense devices. The final two cues contain marvellous main theme and vocal performances and last sendoff provided by the ‘demise’ theme.

Navajo Joe might have the best usage of choir within the whole discography of the composer. Besides that, it is an entertaining album that stands firmly amid the other more well-known scores of the genre. Though some may find it repetitive, its boisterous attitude manages to win over any listener if he can just get over the shocking opening bars.

Rating: *****

Tracklist:

1. Navajo Joe (Main title) (02:50) *****

2. A silhouette of doom (02:54) ****

3. Duncan's plan (00:31) ***

4. The Peyote saloon (02:32) ***

5. Wiping out the town (00:41) ****

6. The road to Esperanza (Main title - Navajo Joe) (01:54) *****

7. The engineer's harmonica (00:09) **

8. Duncan's wild bunch (Goodbye to Brother Jeffrey) (00:27) *****

9. Train massacre (00:42) *****

10. Fear and silence (01:49) **

11. A dollar a head (02:20) *****

12. Joe's departure (End title - Navajo Joe) (02:14) *****

13. An Indian story (Healing the wound) (02:01) *****

14. Ride into town (01:49) *****

15. But Joe say no (01:20) ****

16. To intermission (00:38) *****

17. Torture (The bandit gets the train) (02:01) *****

18. Navajo harmonica, pt. 1 (00:40) *****

19. Navajo harmonica, pt. 2 (00:48) *****

20. The Navajo escapes (01:38) *****

21. A bad childhood (00:26) *****

22. Joe and his woman (01:07) *****

23. The horses set free (00:48) ****

24. The demise of father Rattigan (The demise of Barbara) (02:56) *****

25. From Esperanza (To Esperanza) (01:47) *****

26. Over the mountain (01:13) *****

27. The search for Joe (01:05) ****

28. The confrontation / The return of Joe (01:53) *****

29. After the end (02:16) *****

Bonus tracks:

30. Main title (Film version) (03:01) *****

31. Raw hides and dead hides (01:20) *****

32. Fear and silence (01:49) ***

33. The Navajo's a prisoner (01:40) ****

34. Navajo Joe medley (02:06) *****

35. Sadness (00:33) *****

Love and other drugs: part 3

Title: L’attico (The attic)

Year: 1962

Composer: Piero Piccioni

L’attico is a story about a naïve girl who wants to make it big in the city working as a model and living in a penthouse facing the Colosseum. While fulfilling her dream she also dates several suitors. Piero Piccioni’s score is almost pure jazz, based around two alternating main themes which are the building blocks to almost every single cue on this 70-minute album.

And luckily Piccioni really delivers a home run with the opening theme, which is the most prevalent melody heard throughout the score. L’attico is a lively piece of smooth, falling-rising lines which move from solo instrument to another and allow the performers’ improvisational skills shine. The orchestration here also differs from standard jazz band ensembles, including for instance a vibraphone and harpsichord which give the music otherworldly, slightly off-kilter edge. Usually Piccioni’s melodies tend to take their time to arouse the listener’s interest. In the case of L’attico I was hooked from the first note and I must admit that this might be my all-time favourite Piero Piccioni tune. Fortunately for me (and hopefully other listeners too) the score is basically a theme-and-variations type of score, like e.g. Maestro Morricone’s La cosa buffa, both of which twist and turn their core material into all the possible shapes.

Attico per organo changes the melody into an improvisatory keyboard solo in a slower pace which is just lovely yet simultaneously odd. A nightly, slow jazz orchestra version of track 11 is not as engaging as the faster versions but beautiful nevertheless. After a straightforward reprise, track 13 turns into a hallucinatory duet for abstract organ chords and solo vibraphone. Next reprises are dominated by sultry saxophones before a straightforward church organ version appears in track 20 representing the other end of the spectrum of uses Piccioni has for the melody. It’s followed by a dramatic, Baroque-inspired harpsichord variation of the melody that is just another stroke of brilliance. Track 29 combines the harpsichord and organ into a duet of nearly religious proportions that is ruined when a more mischievous variation appears after a dissonant surge.

The second melody, called simply Ancora is a more mournful tune, whose long lines allow usually a passionate solo instrument to take the centre stage over more laid-back accompaniment. This melody clearly represents the nocturnal, lonely city streets and perhaps also the hardships our protagonist might encounter in the city. In its first incarnation the melody is played first by a trumpet and then saxophone, while in track 9 the roles are switched. The trailer version of track 14 features the melody on flutes and keyboards while the beat is more danceable than previously.

To add some variety, Piccioni wrote also some other pieces of music to expand the musical universe of the film. Afro starts with slow Latin rhythms which are then joined by playful woodwinds and organ notes, but in its 1^st reprise we only get some odd percussion effects and someone blowing into a glass bottle. Afrodite is a poolside source cue for flute soloist and light percussion, whereas Chicago style is a fun, but all-too-brief nightclub ragtime number for tinkling piano and percussion work resembling tap dancing. Its reprise sounds like the saloon piano playing the tune has been detuned and slightly broken. Track 12 includes fast, big city jazz that might have something to do with the main theme but at the level that escapes this listener. A change in pace is also Marcetta which is a comedic march tune interrupted by constant, dream-like space-effects in the background. Lastly there is Piano source, a sad minor-key tune for solo piano written in the best romantic music traditions but strangely it ends with a thump representing the pianist’s frustration.

The listener’s enjoyment of the score depends largely on whether or not he likes the main theme, because that theme is nearly everywhere. I happen to love that melody and hence giving a rating for the score is relatively easy. After a trim, there is nevertheless a large amount of well-composed, jazzy film music for others. The warmth of the music is exceptional and I really can’t remember another Piccioni score that has given me an emotional rollercoaster ride like this one.

Rating: *****

Tracklist:

1. L'attico (02:16) *****

2. Afro (03:11) *****

3. Afrodite (02:08) ****

4. Ancora (03:14) *****

5. Attico per organo (02:18) *****

6. Chicago style (01:01) *****

7. L'attico (01:58) *****

8. Afro (02:41) **

9. Ancora (03:10) *****

10. Chicago style (01:30) ****

11. L'attico (grand orchestra) (02:37) ****

12. L'attico (02:04) ****

13. L'attico (01:56) *****

14. Ancora (trailer) (03:01) ****

15. Attico per organo (01:58) ***

16. L'attico (01:17) *****

17. L'attico (marcetta) (01:36) ***

18. L'attico (02:04) *****

19. Ancora (01:54) ****

20. Attico per organo (01:32) *****

21. L'attico (02:03) *****

22. Attico per organo (01:20) *****

23. Ancora (02:56) *****

24. Afro (01:11) ****

25. L'attico (02:02) *****

26. Chicago style (fast) (01:56) *****

27. L'attico (piano source) (01:31) *****

28. L'attico (01:11) ****

29. L'attico (01:34) *****

30. Ancora (trailer take 2) (02:21) *****

31. Attico per organo (01:28) *****

32. L'attico (01:09) ****

33. L'attico (01:17) ****

34. L'attico (01:47) *****

35. L'attico (grand orchestra) (02:50) ****

Spaghetti and cowboys: part 4

Title: Ehi amico… c’è Sabata, hai chiuso! (Sabata)

Year: 1969

Composer: Marcello Giombini

Along with The man with no name, Django, Ringo etc there was another lone gunman appearing in Spaghetti Western films at the turn of 1960s-70s, Sabata. This antihero was portrayed by two different actors in the three films he appeared and originally had another name in the ‘sequel’ before it turned into a Sabata picture during production. Quartet records released all the scores together on a 3 CD box set.

The first score is by Marcello Giombini who was a prevalent composer of especially Spaghetti Western films but sometimes ventured to other genres as well. His work for Sabata is probably his most well-known work and no wonder: the main theme is very catchy and sticks with you after just a few listens. The opening Titoli opens with the swirling strings associated with the film’s antagonist before the main theme appears first played by an electric guitar and then a forceful brass section. The descending tune has some mariachi qualities to it and a riding gallop beat underneath. The first reprise arrives in Verso Los Saloe and eventually it variates into a major key version of the tune. Vocal includes spoken word by Alessandro Alessandroni and his choir members repeating the film’s title. Though cheesy, you can’t deny its entertainment value. The album ends with a few full reprises of the tune which unfortunately get too repetitive after hearing the melody already throughout the whole score. The last cue however is a surprising one, the theme sung fully in German meant for the international distribution of the film.

The antagonist of the story is called Stengel and his theme is heard in a brilliant way in track 3. Its foundation is built around swirling strings and victorious chord progressions. The melody itself probably the best one within the score and resembles those glorious solo trumpet moments from Morricone’s Western scores. For the sidekick Banjo, the main instrument is clear. The banjos are however more in the background in track 7 and the actual melody is played by woodwinds and strings with a slight nautical feel for some odd reason. Auira Banjo mixes his theme for a solo banjo with hints to the Stengel material but finally turns them into emotional orchestral glory. The theme had also a single version, track 18 which combines strangely material from tracks 7, 13 and 10.

For moments that don’t play around the main themes, Giombini provided an array of moods. L’attesa is a slow funeral elegy which isn’t terribly interesting unfortunately while Saloon is a source piano piece. Morte di Stengel opens with effective, quiet suspense material for inventive orchestrations eventually reprising the main theme in disguise. L’agguato is a tense orchestral stinger which doesn’t offer anything new but is a fine composition nonetheless. It however isn’t anything compared to the most over-the-top drama moment of the score, La vendetta for a thunderous, Gothic church organ playing in Baroque fashion backed by the orchestra.

The score concludes with three nicely assembled suites, first of which begins with tense Stengel material and changes into a more action orientated variation of his theme and then into a suspense variation. Later the melody is mixed together with several major key versions of the main theme that are the foundation for the rest of the suite. Suite 2 opens with all the three main identities before a short yet beautiful love theme for solo viola is heard, which then moves to new main theme variations for varying orchestration. The last suite is once again all about the main theme: first harpsichord playing it with a slightly comedic edge, then some alto flute, marimbas and eventually back to soothing harpsichord notes.

The main theme, no matter how catchy, is perhaps too plentiful and that is the biggest complaint I have with Sabata. Luckily the orchestration varies and almost none of the reprises sound the same. I would have loved to have more of the other themes which now get buried under the excessive main theme statements. Nevertheless it’s a fine Spaghetti Western score and will surely please the fans of the genre.

Rating: ****

Tracklist:

1. Ehi amico... c’e’ Sabata, hai chiuso! (Titoli) (01:52) *****

2. Ehi amico... c’e’ Sabata, hai chiuso! (L’attesa) (02:00) ***

3. Ehi amico... c’e’ Sabata, hai chiuso! (Nel covo di Sengel) (03:08) *****

4. Ehi amico... c’e’ Sabata, hai chiuso! (Verso Los Saloe) (01:37) ****

5. Ehi amico... c’e’ Sabata, hai chiuso! (Saloon) (01:42) ***

6. Ehi amico... c’e’ Sabata, hai chiuso! (Desolazione) (01:17) **

7. Ehi amico... c’e’ Sabata, hai chiuso! (Banjo) (01:09) *****

8. Ehi amico... c’e’ Sabata, hai chiuso! (Vocal) (02:43) ****

9. Ehi amico... c’e’ Sabata, hai chiuso! (Morte di Stengel) (02:42) ****

10. Ehi amico... c’e’ Sabata, hai chiuso! (Auira Banjo) (02:37) *****

11. Ehi amico... c’e’ Sabata, hai chiuso! (L’agguato) (01:05) ****

12. Ehi amico... c’e’ Sabata, hai chiuso! (Saloon 2) (01:55) ***

13. Ehi amico... c’e’ Sabata, hai chiuso! (La vendetta) (02:43) *****

14. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 1) (07:26) ****

15. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 2) (04:02) ****

16. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 3) (04:53) ****

17. Ehi amico... c’e’ Sabata, hai chiuso! (Banjo - single version) (02:30) ****

18. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 1) (01:50) ****

19. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 2) (02:38) ***

20. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 3) (01:51) ****

21. Ehi amico... c’e’ Sabata, hai chiuso! (Vocal - in tedesco) (02:36) ****

CrimeWaves: part 8

Title: L’assassino (The assassin)

Year: 1961

Composer: Piero Piccioni

L’assassino was one of cult director Elio Petri’s first films. It is about a man who is incarcerated for killing his wife. For a title as flashy as this, Piero Piccioni’s score paints a whole different picture. It’s a very subdued work which probably works well underscoring the investigation scenes and nostalgic reminiscing of the past. The score for the film could easily be disgarded as mere source music. However there are clearly definable themes that appear constantly throughout the score. The small ensemble of brass, keyboards and percussion forms the core with only a handful of other additional instruments, which just adds to the nightclub like nature of the music.

Piccioni assembled a 5-track EP programme at the time of the film’s release presented as the first five cues on the album. The main theme is heard in Titoli, a darkly intriguing cue which borrows from the jazz music of the era. However there is something mysteriously seductive about the tune and sultry sax performance which lifts it above a standard restaurant source cue. Momento d’amore is the love theme which in a usual fashion for the composer doesn’t stick with you during the first few listens but when you get it memorized, you’ll realize how beautiful it truly is. That first version isn’t really memorable on the long run though but luckily there are several moments of that melody to come. A low sax chorus similar to the main theme forms Notturno but it’s more menacing with its delivery. I get some callbacks to Henry Mancini’s compositions with this cue. The most hopeful tune of the score, Attesa blues is another romantic piece highlighting mellow and jazzy, surprising chord progressions. The last cue of the EP is a chase cue with fast drumset and that crime flick sax section playing in a forceful manner along with trumpet flourishes.

A complete presentation of the score follows and it’s built around the EP material with only a few moments deviating further. Though this might create a somewhat redundant listening experience, luckily there is enough variation to keep things interesting. Notable highlights are for instance two longer versions of Attesa blues with echoy vibraphones and delightful little solos changing from an instrument to another, a harpsichord version of the love theme (tracks 13, 20 & 25) bringing to mind Piccioni’s Emily Jane’s theme from The light at the edge of the world or an extended main theme treatment of tracks 19 and 30. Those new moments I mentioned are Momento misterioso and Indagine both of which are variations of the main theme and feature avant-garde, cold, low rumbling bass and percussion which creates a creepy atmosphere for nocturnal stalking, and Atmosfera sensuale, a new variation of the Attesa blues melody for a wonderful flute solo.

L’assassino isn’t one of the most essential Piccioni scores, but it’s another fine rescue from the golden age of Italian cinema by Quartet Records. If you enjoy laid-back tunes with occasional darkness for small ensembles, this score is just up your alley.

Rating: ****

Tracklist:

1. L’assassino (Titoli) (02:44) *****

2. L’assassino (Momento d’amore) (02:57) ****

3. L’assassino (Notturno) (02:21) ***

4. L’assassino (Attesa blues) (01:39) ****

5. L’assassino (Inseguimento) (01:35) *****

6. L’assassino (Titoli slow) (01:33) *****

7. L’assassino (Inseguimento) (00:22) ****

8. L’assassino (Momento d’amore) (01:27) ****

9. L’assassino (Attesa blues) (01:41) ****

10. L’assassino (Notturno) (01:07) ***

11. L’assassino (Attesa blues) (02:23) *****

12. L’assassino (Notturno) (00:58) ***

13. L’assassino (Momento d’amore) (01:05) *****

14. L’assassino (Sospetti) (00:19) ***

15. L’assassino (Atmosfera di sogno) (00:27) ****

16. L’assassino (Momento d’amore piano solo) (02:24) ****

17. L’assassino (Inseguimento) (01:33) ****

18. L’assassino (Momento d’amore) (00:57) ****

19. L’assassino (Titoli slow) (02:59) *****

20. L’assassino (Momento d’amore) (02:34) *****

21. L’assassino (Sospetti) (00:47) ***

22. L’assassino (Momento misterioso) (02:02) *****

23. L’assassino (Indagine) (01:42) ****

24. L’assassino (Attimo sensuale) (00:17) ****

25. L’assassino (Momento d’amore) (00:56) *****

26. L’assassino (Atmosfera sensuale) (01:12) *****

27. L’assassino (Momento d’amore) (02:45) ****

28. L’assassino (Finale versione lunga) (00:45) ****

29. L’assassino (Attesa blues alt.take) (02:24) *****

30. L’assassino (Titoli slow alt.take) (02:52) *****

31. L’assassino (Finale versione corta) (00:26) ****

Oh, the horror: part 8

Title: La cripta e l’incubo (Crypt of the vampire)

Year: 1964

Composer: Carlo Savina

A black-and-white horror film starring Christopher Lee as a count who lives in a gloomy gothic castle. Though that might sound like a recipe for a horror classic, this time that wasn’t the case. The score for the film was provided by Carlo Savina whose mainly quiet music borders on sound effects but luckily has some romantic interludes to break up the dark atmosphere.

The first 4 cues introduce the palette of sounds which Savina builds the score on: harp, small string section, buzzing organ, musical saw, solo woodwinds, harpsichord and a varied percussion section that sometimes sounds like someone creeping around in the dark and sometimes like a thunderstorm. There are no clear motifs or thematic development rather the score seems just to underscore the actions happening on screen whether it is a crescendo for a horrific discovery or quiet murmurs for exploring the dark corridors.

Though most of the score is built this way, there are some exceptions to the rule. For instance, there is some twisted, mischievous or even humorous material. This is introduced first in Cena al castello which includes the clichéd solo harpsichord, which isn’t used in a Baroque manner but in a more playful and bouncy fashion. Attesa grottesca has similar effect this time introducing almost a childlike tune with a hint of Dies irae to it, simultaneously having suspenseful strings playing underneath.

Surprisingly there is also some expressive romantic material introduced in Tema d’amore. Another melodic, though more introspective theme is heard in Il ritratto di Sheena by a solo violin. Both of these themes are performed in Estasi e tormento starting with the love theme and then moving to a more sinister string variation of the second theme which eventually resolves into an orchestral stringer. Non-thematic though lovely flute work on top of bed of harps starts Calma interrotta which once again turns sour at the end. Attimo romantico is another full version of the love theme that is just achingly beautiful. The two themes are combined cleverly in Il mistero del ritratto where a flute starts with the love theme’s rising intervals that then comes down as the second theme. The rest of the track does a good job combining the themes with mild suspense writing and eventually with the comedic music of track 9. A victorious final version of the love theme also ends the whole score into a glorious major chord.

As for the numerous other suspense and horror cues, there isn’t much to describe. It’s more about mood than melodies. Tetra prigione has percussion that sounds like someone being escorted to the gallows whereas Mente folle is another death march with a steady organ pulse that’s just slowed down so that it’s completely unrecognizable. L’incubo della cripta has some of the most effective horror stringers with added faster harpsichord notation bouncing among the strings. However after the two themes are introduced, some snippets of them start to appear within the suspenseful cues, which is a clever move by the composer. For instance a faster version of the second theme turned into a classic horror stinger ends both Laura è Sheena? and Il presagio in a dramatic fashion. The final moments of suspense are packed into two 6-minute cues first of which builds quietly during its whole duration towards a horrific conclusion that unfortunately never arrives. It’s unnerving and effective scoring nevertheless. Psichedelico macabro on the other hand is mostly organ variations of the secondary theme with pretty abstract harmonies that are interrupted with percussion hits and stringers from time to time.

The album is a pretty uneven experience. Though there are moments of sheer brilliance both in the romantic and the suspenseful material, there is also way too much dull space where it feels that barely anything happens. Therefore it’s a quite hard to give it a higher rating. If you’re familiar with Savina’s suspense writing you might get something more out of it than the casual listener. For them I recommend checking out some better ones by him before this one.

Rating: ***

Tracklist:

1. La maledizione di Karlstein (Titoli) (01:49) ****

2. La cripta e l'incubo (Ombre nel buio) (01:09) ***

3. Angoscia (01:45) **

4. Presenze maligne (02:09) **

5. Cena al castello (00:46) ****

6. La cripta e l'incubo (Perversione) (03:02) **

7. La cripta e l'incubo (Tetra prigione) (01:55) *

8. Tema d'amore (01:29) *****

9. La cripta e l'incubo (Attesa grottesca) (00:58) ****

10. Il ritratto di Sheena (01:01) ****

11. Estasi e tormento (02:48) ****

12. La cripta e l'incubo (Atmosfera di morte) (01:07) **

13. Calma interrotta (01:12) ****

14. La cripta e l'incubo (Attimo romantico) (01:23) *****

15. La cripta e l'incubo (Mente folle) (04:05) ***

16. L'incubo della cripta (01:38) ****

17. Il mistero del ritratto (01:49) ****

18. Laura è Sheena? (01:40) ****

19. La cripta e l'incubo (Corridoio oscuro) (05:58) ***

20. Laura posseduta (01:30) ***

21. Il presagio (01:23) ****

22. La cripta e l'incubo (Psichedelico macabro) (06:27) **

23. Finale (01:16) *****

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) ****