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) *****

Exotic flavours: part 6

Title: Ming, ragazzi! (Mr. Hercules against karate)

Year: 1973

Composer: Carlo Savina

In the 70s a number of comedy-crossover films were made also in Italy. Ming, ragazzi! belongs into this category. The story takes a Bud Spencer-Terence Hill -like duo to Hong Kong where they have to rescue a son of a Chinese restaurant owner held hostage by a local karate school. The composer for the project was a bit unexpected, Carlo Savina, who I associate more with dramas or historical epics for which he offered soundscapes more suitable for a concert hall than film score. This is easily one of the lightest and most ‘easy-listening’ his work ever got but still provides some interesting textures and musical devices.

In a typical Savina fashion, the score is pretty monothematic. The main theme heard in Titoli is a longlined tune with that 70s glitz but with some hints to the oriental melodies in its opening phrase. The theme goes through the full orchestral glamour phase and then moves to a more comedic section with car honks. Seq. 3 is a longer reprise of the theme’s different sections which are all over the place, sometimes comedic marches, sometimes sentimental elegies and finally more in the style of 70s ‘travel music’ with glorious string flourishes. A fun, fast beat style version of Seq. 4 is perfect for a comedic fight sequence and it even ends with some oriental terror. Full ballroom muzak version Seq. 5 is a complete departure from the comedy and surprisingly well-composed for such a silly comedy film. More straightforward comedy returns in Seq. 14 after a musical saw and organ glissandi. Finale is another collage of styles from restaurant tunes to menace eventually growing into a joyous, orchestral crescendo.

The oriental aspects of the score are quite stereotypical. They start to appear prominently from Seq.6 onwards with pizzicato strings accompanying the main theme. Seq. 7 has woodwind and organ effects with pentatonic progressions over a steady, menacing bassline. Slower, sinister progression opens Seq. 9 which then turns into the score’s biggest action cue with stabbing, irregular string rhythms reminiscent of Stravinsky’s Rite of spring. The ominous harpsichord and gong are bouncing between twisted and comedic main theme variations in Seq. 12 offering a fine contrast between the two styles but perhaps being slightly too distracting.

Besides these two, there are other kinds of musical styles presented as well. Seq. 2 is a laid-back beat tune that ends with organ effects straight from a Savina horror project. There are also some muzak tunes for lobbies or a restaurant setting. Seq. 8 is an instrumental for a solo clarinet but there are also two vocal cues sung in English. The first one, Seq. 10, is a cheesy love song for an unnamed male voice for a background listening but midway it changes into a fast-paced samba before reprising the previous styles in an instrumental version. The better song for a female voice (again unnamed) of Seq. 12 begins with a long instrumental introduction that then abruptly turns into a breezy bossa arrangement for the vocals.

Ming, ragazzi! is perhaps the most easily accessible Carlo Savina score I’ve heard but its ever-changing, ‘mickey-mousing’ nature prevents me from fully embracing it. It perhaps diverts too far from the composer’s usual unique style and hence becomes more anonymous and plain in comparison to his other work.

Rating: ***1/2

Tracklist:

1. Ming, ragazzi! (Seq. 1 - Titoli) (02:25) ****

2. Ming, ragazzi! (Seq. 2) (01:35) ***

3. Ming, ragazzi! (Seq. 3) (04:52) ****

4. Ming, ragazzi! (Seq. 4) (02:39) ****

5. Ming, ragazzi! (Seq. 5) (02:38) *****

6. Ming, ragazzi! (Seq. 6) (01:28) ****

7. Ming, ragazzi! (Seq. 7) (01:56) ***

8. Ming, ragazzi! (Seq. 8) (02:15) ***

9. Ming, ragazzi! (Seq. 9) (03:23) ****

10. Ming, ragazzi! (Seq. 10) (05:50) ***

11. Ming, ragazzi! (Seq. 11) (01:41) ****

12. Ming, ragazzi! (Seq. 12) (04:54) ****

13. Ming, ragazzi! (Seq. 13) (04:57) ****

14. Ming, ragazzi! (Seq. 14) (01:16) ***

15. Ming, ragazzi! (Seq. 15) (01:33) ***

16. Ming, ragazzi! (Seq. 16 - Finale) (02:12) ****

Oh, the horror: part 9

Title: The legend of blood castle (aka Le vergini cavalcano la morte)

Year: 1973

Composer: Carlo Savina

Erzsébet Báthory was rumoured to be one of the most notorious serial killers who was responsible for hundreds of deaths at the turn of the 17^th century. Whether or not the myth is that accurate, her case has been an inspiration of many literary and film works, also for The legend of blood castle. The music by Carlo Savina plays homage to modern classical composers and the whole work plays out a bit like a suspenseful tone poem better appreciated as a whole than a series of single cues.

Main titles start the score with eerie drum beats that are then joined by a foreboding choir, electric organ, harpsichord and a buzzing string section that offer a moment of rising tension. It’s a perfect opening to the score which is followed by Dark presences, a passionate viola solo still shrouded in darkness with its abstract harmonies. That same instrumentation carries over to Into Hell which also has a surprising addition of sassy saxophone and brass instruments in the middle of the cue before the suspenseful viola ends the cue with ominous murmurs. Harpsichord concert is a short piece of Baroque source music that is still very much in tune with the other cues. It has an original beginning that then turns into a direct quote from J.S. Bach’s Well-tempered clavier and then goes its own way with similar rising chords Savina utilized in the suspense cues.  Reprises of the previous moments of horror with the viola are heard once more in Bloody ceremony and at the beginning of Devil’s hunt. The latter also introduces a ghostly vocal theme that resembles a children’s tune I used to sing as a kid. That melody has atonal harmonies though, so that’s where the similarities to that tune end pretty much.

Forceful electric guitar and piano chords start the score’s loudest cue Night terror along with powerful choral voices. Finally it lands to a more stable base with tinkling and swirling orchestration while the choir lurks in the background. Hungry ghosts is a reprise of the main titles which results in screaming chorus and eventual march-like percussion which ends the cue quietly. What follows is an 8-minute suite full of slowly wandering strings, the only attempts at major key compositions around the 2- and 8-minute marks, barely audible percussive beats with sparse harpsichord, piano and musicbox tinkles which finally make way to a powerful closing string coda. It’s a letdown compared to the preceding, more effective suspense material but luckily the childlike vocal theme returns in The haunting bringing together several quotations from the preceding material. Finale is similar in a way beginning with the choral judgment of track 7, then reprising the vocal theme and finally concluding to a quiet coda consisting of electric guitar notes, piano and harpsichord harmonies and a solitary female voice singing in the darkness and slowly fading away.

As mentioned in the opening paragraph, there’s a certain flow in the music that brings great cohesion to the overall experience. It’s not a cheerful score, but an intriguing one nevertheless. Most importantly it’s never unpleasant to listen to and there is even something eerily beautiful with the delicate chamber-sized orchestrations.

Rating: ****

Tracklist:

1. Le vergini cavalcano la morte (Main titles) (01:55) ****

2. Le vergini cavalcano la morte (Dark presences) (02:09) ****

3. Le vergini cavalcano la morte (Into Hell) (05:10) ****

4. Le vergini cavalcano la morte (Harpsichord concert) (03:56) *****

5. Le vergini cavalcano la morte (Bloody ceremony) (02:24) ***

6. Le vergini cavalcano la morte (Devil’s hunt) (02:50) ****

7. Le vergini cavalcano la morte (Night terror) (03:31) *****

8. Le vergini cavalcano la morte (Hungry ghosts) (03:14) ****

9. Le vergini cavalcano la morte (Maidens ride death) (08:39) ***

10. Le vergini cavalcano la morte (The haunting) (02:06) ****

11. Le vergini cavalcano la morte (Finale) (03:19) ****

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) *****

CrimeWaves: part 7

Title: La morte vestita di dollari (Dog eat dog aka When strangers meet)

Year: 1964

Composer: Carlo Savina

A story about three robbers received a score by Carlo Savina which bounces between two styles both brilliantly suitable for a crime flick. Jazzy swing cues represent the nightlife and alternate with more sinister moods for moments of action or suspense that take up most of the album’s duration. Sprinkled in between are also some other musical styles like classically inspired source music, religious organ playing and loungy sleaze for a restaurant setting. With such an array of contrasting styles you might think that the score might sound too disjointed. However both the album presentation and the bonus cues offer a great listening experience in which each cue flows beautifully into next one creating a cohesive narrative.

The album begins with a laid-back swing piece Swing frenetico with a walking bass backing, not nearly as frantic as the title might suggest but a great little opening. It is interrupted quickly though with Stasi which presents the score’s most prominent main motif, descending piano triplets with ominous piercing or stabbing string and piano chords in between. These stabbing chords also open Ritmi di latta which then takes a complete 100 degree turn into a fast, cheeky swing piece with a good sense of fun in the performance and solos for guitars, piano, percussion and vibraphone. Other jazzy melodies are heard in a honky-tonk/cabaret fashion in the pair of cues Piano and Piano src. The album ends with three Swing numbers that reprise the opening track’s melody and close the circle beautifully with just the swing beat remaining to play in the emptiness.

Atmosfera morbida has the descending notes of the suspense motif spaced much more sparsely for buzzing keyboards and in much slower tempo. However eventually the track develops from its sinister origins into a loungy jazz piece for muted trumpet and soft, nocturnal backing. Morte di un ladro offers other variations of the suspense motif extending it into a more long-lined melody, followed by Il dramma with a more straight-forward and aggressive version of the motif. Probably the best and fullest version of the motif is In giallo where it is played ultimately with a piercing solo saxophone before more variations provided by the bass clarinet appear.

The first real action cue on the album is Caccia spietata with brutal percussion section and strangely abstract string harmonies playing the tuning harmonies of a violin. The madness is combined to those icy cold piano chords that are often heard along with the suspense motif. The accelerating rhythm surely makes the listener’s heart race. There is a piano action motif in Agguato ed assassinio but unfortunately it doesn’t last that long but turns back to suspense as soon as possible. That motif is reprised in tracks 18, 19, 31 & 32.

Source cues include a classical pastiche Concerto romantico which is a great theme complete with a passionate piano solo taking inspiration from classical composers of the romantic era. Unfortunately it isn’t heard again if you don’t count a variation in the climatic track Sospensione which ends the original album with a dramatic bang. There are a couple of pieces for solo organ (6, 26, 27) that are religious in nature but not overly so, rather just peaceful breather cues among the suspenseful pieces. The last one manages to make me smile with its quotation of a certain well-known organ piece. Grottesco sounds exactly what the title says, a morbid waltz for comical wah-wah trumpet and solo violin over strange, atonal harmonies that lead to more variations of the suspense motif. Incerto candore opens with a solo flute that is both jazzy and oddly sinister before a gorgeous melody for a restaurant scene appears and concludes with a touch of sassy sax. The melody is heard again briefly in Candore. As with many film scores of the era there is also time for some experimental material and Ambient is this album’s version of that. It consists purely of electronic sound effects and signal noise which is absolutely unlistenable and might break your eardrums if you’re listening to it with headphones.

As you can see from my star rating, the original album clearly had all the highlights but nevertheless it was nice to have the extras because the score is relatively short. The short duration of the cues and the lack of an identifiable main theme might also alienate some listeners. But for Savina fans this is a must buy because there are touches of his unmistakable style especially in the suspense scoring, however the jazzy cues sound really fresh even by his standards. The complaint I have with the Kronos Records release is once again that the album tracks don’t match the written tracklist. The actual tracks heard on the album are on an alphabetical order like in my written tracklist below and their original places in the ( )s. A nice little score nevertheless.

Rating: ****

Tracklist:

1. Swing frenetico (01:19) *****

2. Stasi (01:07) *****

3. Concerto romantico (01:29) *****

4. Ritmi di latta (02:29) *****

5. Atmosfera morbida (02:17) *****

6. Suona un organo (01:48) ****

7. Morte di un ladro (02:51) ***

8. Il dramma (01:01) *****

9. Caccia spietata (02:57) *****

10. Grottesco (01:54) *****

11. Delitto (01:00) ***

12. Incerto candore (02:04) *****

13. Agguato ed assassinio (01:15) ****

14. Atmosfera sospesa (01:07) ****

15. In giallo (02:02) *****

16. Ritratto di signora (01:28) ****

17. Sospensione (00:54) *****

18. (20.) La morte vestita di dollari - Seq. 3 (Agguato) (01:10) ****

19. (21.) La morte vestita di dollari - Seq. 4 (Agguato ed assassinio - lungo) (01:50) ***

20. (33.) La morte vestita di dollari - Seq. 16 (Ambient) (02:57) *

21. (19.) La morte vestita di dollari - Seq. 2 (Annuncio) (00:27) ***

22. La morte vestita di dollari - Seq. 5 (Candore) (00:28) ****

23. La morte vestita di dollari - Seq. 6 (Consquenze) (01:05) ****

24. La morte vestita di dollari - Seq. 7 (Drammatico 1) (00:11) **

25. La morte vestita di dollari - Seq. 8 (Drammatico 2) (00:43) ****

26. La morte vestita di dollari - Seq. 9 (Organo) (00:32) ****

27. (18.) La morte vestita di dollari - Seq. 1 (Organo) (02:00) *****

28. (27.) La morte vestita di dollari - Seq. 10 (Piano) (00:27) ****

29. (28.) La morte vestita di dollari - Seq. 11 (Piano src) (00:41) *****

30. (29.) La morte vestita di dollari - Seq. 12 (Seduzione) (00:15) ****

31. (30.) La morte vestita di dollari - Seq. 13 (Suspense 1) (00:50) ***

32. (31.) La morte vestita di dollari - Seq. 14 (Suspense 2) (01:49) ***

33. (32.) La morte vestita di dollari - Seq. 15 (Suspense 3) (00:37) **

34. La morte vestita di dollari - Seq. 17 (Swing 1) (00:16) ****

35. La morte vestita di dollari - Seq. 18 (Swing 2) (00:26) *****

36. La morte vestita di dollari - Seq. 19 (Swing 3) (00:52) ***

Nella fantasia: part 3

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 20^th 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) *****

CrimeWaves: part 3

Title: L’orchestra rossa (The red orchestra)

Year: 1989

Composer: Carlo Savina

During the 80s Carlo Savina’s scores actually started to lean towards more orchestral approaches even though the trend was to include synthesizers in the scores. Nowhere is this more apparent than in L’orchestra rossa which was one of the last scores he ever composed. This French film is about Soviet espionage rings working in Nazi Germany and has music by an Italian composer. Though having such international potential, the film is once again unknown and almost no material can be found about it online, not even any sound clips of the score that was released by the Spanish record label Saimel in 2011.

The score’s opening track play out like an overture of sorts introducing the moods that the score consists of. It begins with dramatic string stabs accompanied by martial percussion rattles that depict the turmoil that was going on in Europe at the time. A secondary theme is then introduced briefly on a solo clarinet, a melody that has some march-like qualities to it followed by a glimpse of something Slavic folk song like. But at 2-minute mark a longlined string melody appears which is the film’s main theme. That melody is then joined by an accordion and it swells for a short moment in a beautiful modal fashion. However the track concludes with a hopeful melody for horns and solo violin that unfortunately never appears again until the very end. The melody has some old-time Hollywood qualities to it or perhaps something Jerry Goldsmith might have come up with.

The score begins properly in Seq. 2 with those dance-like Slavic folk song melodies hinted at the beginning performed by a clarinet, swirling fiddle solo and accordion over dramatic martial percussion and staccato piano chords. The main theme gets its first full version in Seq. 4 beginning with a solo violin playing in the darkness before the strings come in with dramatic piano notes. The rest of the piece jumps back and forth from the secondary clarinet march theme and the main theme in an ominous fashion.

The weakest parts of the score for me are the suspense tracks that don’t really go anywhere and mostly consist of just wandering strings. These elements start Seq. 5 but luckily both the secondary march theme and main theme get fine versions at the end of the track that prevents it from becoming dull. The track also introduces a new accordion theme briefly that is certainly Slavic in nature and rather moving. This theme gets a full version in Seq. 7 with mournful strings backing the accordion melody that features folk music inspired accents and in Seq. 17 with almost jazzy harmonies. The suspense continues in Seq. 10 which begins with the martial folk song melodies of Seq. 2 but then changes the mood to sinister strolling that is briefly interrupted with another cleverly disguised and harmonized main theme version. The dullest dramatic track is Seq. 13 which just provides sleep-inducing suspense writing that really doesn’t raise any suspicions that it probably should within the context of the film.

Though the score is mostly very dramatic there are moments of pure beauty such as Seq. 11 which begins with a tear-jerking rendition of the accordion theme before changing into the most fragile version of the main theme this time with modal harmonies that bring both folk songs and early sacred music to mind. I just adore how different harmonies Savina utilizes with his main theme which completely changes how the melody feels. There’s a Slavic waltz track for violin and clarinet in Seq. 15 that is extremely dark but agonizingly beautiful and romantic at the same time. The secondary march theme gets a nostalgic variation in Seq. 16 without the martial backing which makes the listener realize how great a melody it really is.

There are also a number of source cues on the album. The first one, Seq. 3 is an Argentinian tango piece for violin and accordion that is good fun though nothing really that special. The background music for bar scenery is mostly performed in three piano solos: Seq. 6, Seq. 9 and Seq. 12 which all are pleasantly melodic. First of which being more thoughtful and nostalgic while the second more upbeat and the last perhaps a little patriotic before turning melancholic in its B section. By far the greatest source cue is Seq. 14 which is a lounge jazz cue for sensual clarinet, trumpet and different kinds of twinkling organs or vibraphones.

The finale cue is another mixture of styles beginning with a short source waltz that is interrupted by pastoral version of the main theme that then turns back to martial percussion and wandering suspense strings. Luckily the melodies soon return first with a nostalgic version of the accordion theme that sounds like it has aged during the album’s duration. After more suspense writing the track starts to make its way towards a climax. Surprisingly it never reaches it but quiets down to solo clarinet and violin performing the main theme in stillness. The last part of the track reprises the overture’s version of the main theme complete with the hopeful Hollywood melody that ends the score with an emotional high note.

L’orchestra rossa has to be one of the most agonizingly attractive pieces of music Savina ever created. The dullness of the suspense cues and slow-moving nature of many of the tracks are the only issues I have with the score. Even the source pieces seem to fit well into the soundscape Savina has crafted here, which just oozes with class perfectly suitable for an espionage flick. If you fancy thematic orchestral music strongly rooted in folk music inspired melodies, this hidden gem might just be right up your alley.

Rating: ****

Tracklist:

1. L'orchestra rossa (Seq. 1) (04:42) *****

2. L'orchestra rossa (Seq. 2) (02:46) *****

3. L'orchestra rossa (Seq. 3) (02:15) ***

4. L'orchestra rossa (Seq. 4) (03:47) *****

5. L'orchestra rossa (Seq. 5) (04:06) ****

6. L'orchestra rossa (Seq. 6) (01:53) ****

7. L'orchestra rossa (Seq. 7) (01:29) ****

8. L'orchestra rossa (Seq. 8) (01:25) ****

9. L'orchestra rossa (Seq. 9) (01:26) ***

10. L'orchestra rossa (Seq. 10) (04:00) ****

11. L'orchestra rossa (Seq. 11) (02:06) *****

12. L'orchestra rossa (Seq. 12) (02:27) ****

13. L'orchestra rossa (Seq. 13) (03:11) ***

14. L'orchestra rossa (Seq. 14) (01:37) *****

15. L'orchestra rossa (Seq. 15) (02:10) *****

16. L'orchestra rossa (Seq. 16) (02:33) ****

17. L'orchestra rossa (Seq. 17) (01:08) *****
18. L'orchestra rossa (Seq. 18) (08:41) ****