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) ****

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) ****

Love and other drugs: part 1

Title: Le altre

Year: 1969

Composer: Piero Piccioni

March 1st 2017 will be remembered as the day Finland finally married her first same sex couples. To honour this day of love I’m starting a new series concentrating on romantic films or at least scores that would fit into that kind of atmosphere. The film Le altre suits my reasons as well because it tells a story of a lesbian couple trying to find a man to have a child with and form a family. It’s completely forgotten now but possibly caused some controversy at the time of its release due to the subject matter. The score by Maestro Piccioni is a lengthy exercise in jazzy lounge moods that offer a mellow yet a bit anonymous listening experience perfect for a background listen to a romantic date.

The score is mostly written for a jazz ensemble with significant emphasis on the keyboards probably played by the composer himself. Some tracks feature choral voices of I Cantori Moderni but mostly it is an instrumental easy listening album with several impressive, improvisatory solos provided by the players. Strings are added only to one cue (Seq. 25) to offer some additional colour for a short fleeting moment.

There are several recurring motifs in the score. The most abundant one is reminiscent of Piccioni’s main theme from the film Giovinezza giovinezza which I reviewed a while ago. This time the rising-falling melody is used in a more upbeat manner and it has a bossa-flavoured groove to it that sounds to be somewhat offbeat in its introduction in Seq. 4 at least. The harmonies in that cue also have some odd qualities because of a plucked harpsichord like instrument that deviates from the usual jazz ensemble instrumentation. The melody gets a comical tango treatment in Seq. 8, whereas Seq. 14 treats it with an almost childlike naivety with a cheerful backing that just makes me smile. A downbeat choral version of Seq. 17 offers harmonies reminiscent of classic jazz vocal groups of the time. By far the most interesting variation is Seq. 23 where the melody is heard among atmospheric tinkling sounds and space-like organ effects.

A two-note motif in a minor key is heard in Titoli with sultry choral “hey-heys” and “hums”. At times the voices form bluesy harmonious chords on top of which the mad sax solo can improvise wildly. Much mellower version of this idea is heard in Seq. 24 but still with a groove that makes you sway. The second disc also closes beautifully with a slightly more optimistic version of the idea with bluesy piano and keyboard flourishes. The third theme is by far the most long-lined melody of the bunch and it’s first heard in Seq. 3 with a soft backing track and wordless choral voices singing the the bouncy melody, later reprised in an instrumental bossa cue in Seq. 19, 22 & 28 and finally in a weirdly amusing march-like setting in Seq. 30. A variation of those vocals is combined to a danceable garden party tune of Seq. 5 in Seq. 12 that also carries over to Seq. 6 transforming it into a dubious, unrecognizable electric organ solo.

There are a number of nonthematic source music cues on the album as well. The album begins with the loungy Prologo sequence, however the piano performance in the cue is rather restless and thus prevents it from becoming dull. Faster party cues are for instance Seq. 7 with a melodic base heavily rooted in blues and Seq. 18, 20 & 29 which are certainly more inspired by Latin America. There’s also music with a very fast drum beat and absolutely crazy guitar and keyboard performances that could fit into a modernistic chase sequence in Seq. 13 and Seq. 26, latter cue also having a strange droning noise underneath the chaotic yet extremely fun writing. There’s also a weird Middle-Eastern cue, Seq. 36 that appears straight out of nowhere and features a wandering sitar solo and a snake-charmer flute.

There’s nothing apparently wrong with the score. However there’s not enough variety or catchiness in the themes or performances to stop your mind from wandering off while listening to it. The duration of over 2 hours also doesn’t benefit anyone because everything worthwhile was already said on the first disc.

Rating: ***1/2

Tracklist:

1. Le altre (Seq. 1 - Prologo) (03:10) ****

2. Le altre (Seq. 2 - Titoli) (05:00) *****

3. Le altre (Seq. 3) (03:14) *****

4. Le altre (Seq. 4) (04:30) ****

5. Le altre (Seq. 5) (04:00) ****

6. Le altre (Seq. 6) (03:09) ***

7. Le altre (Seq. 7) (03:08) ***

8. Le altre (Seq. 8) (02:33) ***

9. Le altre (Seq. 9) (04:24) ****

10. Le altre (Seq. 10) (02:58) ****

11. Le altre (Seq. 11 - Titoli alt. take 1) (05:14) ***

12. Le altre (Seq. 12) (03:15) ****

13. Le altre (Seq. 13) (02:20) *****

14. Le altre (Seq. 14) (03:05) *****

15. Le altre (Seq. 15) (01:54) ****

16. Le altre (Seq. 16) (02:13) ****

17. Le altre (Seq. 17) (03:36) ****

18. Le altre (Seq. 18) (04:49) ***

1. Le altre (Seq. 19) (02:48) ****

2. Le altre (Seq. 20) (02:56) ***

3. Le altre (Seq. 21) (04:01) ***

4. Le altre (Seq. 22) (03:14) ***

5. Le altre (Seq. 23) (02:35) ****

6. Le altre (Seq. 24) (04:28) ****

7. Le altre (Seq. 25) (01:04) ***

8. Le altre (Seq. 26) (03:13) *****

9. Le altre (Seq. 27) (03:37) ***

10. Le altre (Seq. 28) (02:07) ****

11. Le altre (Seq. 29 - Titoli alt. take 2) (02:55) *****

12. Le altre (Seq. 30) (02:34) ****

13. Le altre (Seq. 31) (04:29) ***

14. Le altre (Seq. 32) (01:03) ****

15. Le altre (Seq. 33) (03:16) ***

16. Le altre (Seq. 34) (05:13) ***

17. Le altre (Seq. 35) (02:13) ***

18. Le altre (Seq. 36) (02:27) ***

19. Le altre (Seq. 37 - Titoli alt. take 3) (03:30) *****

Nella fantasia: part 1

Title: Cuore di cane (Dog’s heart)

Year: 1976

Composer: Piero Piccioni

This series will probably be my shortest one because there really isn’t a large Italian fantasy film scene. However this film from 1976 was filed under that description and the premise seems quite fantastical: a doctor performs an imaginative surgery on a stray dog which transforms then into a misbehaving human. The film is based on a satire by Russian author Bulgakov who tried to depict how communism was to transform mankind. The score for the film was written by Maestro Piccioni who created a varied, Russian-flavoured, orchestral piece of music which wonderfully bends to all the twists and turns the story requires.

The opening track introduces the two identities the score has: the mischievous comedic music inspired by compositions of Russian composers such as Prokofiev, and the sentimental romantic material which is extremely dramatic in contrast. This juxtaposition is evident during the album’s whole duration and it gives a certain tension to the listening experience. The comedic opening soon turns to the first full performance of the main romantic theme for the whole orchestra. This long-lined theme has to be one of the greatest ones Piccioni ever created. It might be a little overplayed eventually but all the variations it gets are just astounding. Seq. 2 pairs the melody with mysterious atmospheres before turning to romantic major version followed by the comical theme. The sentimental mood returns at the end. Seq. 5 is a dreamlike reprise of the theme’s B section which by itself would be already an amazing melody but joined to the main verse it’s just phenomenal. There are several long performances of the theme in the album’s latter half, for instance in Seq. 16 where tasteful piano flourishes accompany the B section, Seq. 18 performed by a solo mandolin and a moog synthesizer and Seq. 22  which emphasizes the synthesizers even more but simplifies the harmonies. Luckily the final track on the album returns to the norm and gives an emotional sendoff and closes the arch beautifully yet unceremoniously as it should.

However by far the best version of the romantic theme is Seq. 10 previously released under the title Lied all'improvviso. It’s a classically romantic lied complete with a soprano vocalist singing in Russian. The passionate performance is accompanied by moving yet understated string and piano performances. This cue has to be one of my all-time favourite Piccioni compositions because the woeful and agonizing quality of the music is just so heartbreakingly beautiful that it makes your eyes water. The vocal version is reprised in Seq. 13 which drops the orchestra and has only the pure voice singing over the nocturnal solo piano which is almost as moving as its predecessor.

The comedic cues feature an array of woodwind and brass instruments often accompanied by martial drums and jazzy harmonies. They have a certain parade-like quality to them mixed with hints of fox-trot. Seq. 3, 9 and 15 are prime examples of this style. Another theme, namely a Russian polka is introduced in Seq. 4. This melody is cheesy as hell but insanely catchy and makes you want to start dancing tropak. The melody is performed with an authentic sounding band featuring a mandolin, an accordion and a saloon piano. That same piano returns in Seq. 6 this time playing a tune in waltz groove and reminding me slightly of a merry-go-round before changing into middle-eastern bazaar harmonies with pounding umpa-umpahs provided by the tubas. Catchy ragtime jazz melodies are featured heavily in Seq. 7 before the Russian polka is reprised with same harmonies but the main melody sounds like it had been reversed somehow. Great fun nonetheless. The comedic theme has also a saloon performance in Seq. 12 but the harmonies get more and more insane as the track goes on making it sound like the record was broken by the madness.

There are also some weird suspenseful cues that represent the scientific experiments and transformations. First one is Seq. 8 that consists of swirling and wandering high strings which have all kinds of barking noises made with electronics, bassoons or brass instruments played over them. More introverted electronic effects are at play in Seq. 11 which has also sound effects resembling the cold wind and radar-like signals. There’s also hair-raising metallic screeching and tinkling in Seq. 14. But by far the most challenging piece is the 6-minute Seq. 17 with its atonal brass clusters and ‘laboratory’ music for primitive echoing synthesizer elements which is unlike anything else on the album but unfortunately it becomes rather annoying after a while. I respect the creativity here but it’s pretty hard to consider even as music. The final montage of all moods heard previously: the comedy, the romance and the suspense, is presented in the 7-minute Seq. 20 which might feel somewhat disjointed but shows great mastery of implementing the different moods into a single piece of music.

There’s so much to love about this score and I highly recommend checking it out. The great amount of additional material on the Beat Records album might be a hindrance, as there might be just a bit too much making it hard to enjoy the score on a single listen. Hence I can’t give it a full 5 star rating. The detailed and complex orchestrations and harmonic language is among the composer’s very best and provide a great deal of positive chills.

Rating: ****1/2

Tracklist:

1. Cuore di cane (seq. 1) (03:28) *****

2. Cuore di cane (seq. 2) (04:00) *****

3. Cuore di cane (seq. 3) (02:53) ****

4. Cuore di cane (seq. 4) (03:35) *****

5. Cuore di cane (seq. 5) (01:59) *****

6. Cuore di cane (seq. 6) (03:08) ****

7. Cuore di cane (seq. 7) (04:43) *****

8. Cuore di cane (seq. 8) (02:06) *****

9. Cuore di cane (seq. 9) (02:45) ****

10. Cuore di cane (seq. 10) (04:44) *****

11. Cuore di cane (seq. 11) (03:14) ****

12. Cuore di cane (seq. 12) (02:23) *****

13. Cuore di cane (seq. 13) (03:16) *****

14. Cuore di cane (seq. 14) (01:38) ****

15. Cuore di cane (seq. 15) (02:26) ***

16. Cuore di cane (seq. 16) (03:03) *****

17. Cuore di cane (seq. 17) (06:32) ***

18. Cuore di cane (seq. 18) (02:08) ****

19. Cuore di cane (seq. 19) (02:02) ****

20. Cuore di cane (seq. 20) (07:09) ****

21. Cuore di cane (seq. 21) (01:23) ****

22. Cuore di cane (seq. 22) (02:16) ****

23. Cuore di cane (seq. 23) (03:03) *****

Giallo fever: part 7

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

Year: 1982

Composer: Francesco De Masi

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

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

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

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

Rating: ****

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

Year: 1972

Composer: Piero Piccioni

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

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

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

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

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

Rating: ****

Tracklist:

“Lo squartatore di New York”

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

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

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

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

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

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

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

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

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

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

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

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

“Una tomba aperta… una bara vuota”

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

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

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

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

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

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

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

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

Need for drama: part 1

Title: Giovinezza giovinezza (Youth march)

Year: 1969

Composer: Piero Piccioni

One other Italian film music Maestro yet to be introduced on this site is Piero Piccioni, who as many other composers of his era started as a jazz musician before turning to film music. His main instruments were piano and organ which are featured heavily on his scores. Also his jazz roots are clearly heard in many of his works but the orchestral writing on the other hand usually leans towards the impressionism of the 20^th century. His score to a drama film Giovinezza giovinezza about student movement in fascist Italy combines beautifully both styles.

The main theme is heard straight at the beginning in Titoli which is a simple, misty rising and falling melody played with a surprising instrumental choice, namely the Russian balalaika. The underlying orchestral support on the other hand is very impressionistic which elevates the melody into something more interesting than its first impression gives away. The melody was reprised and developed further in Piccioni’s score to Le altre the same year. Ricordi lontani reprises the main theme in a nostalgic fashion. There’s an underwater quality about the music as many of the tracks have so much echo, sounding like they were recorded in a huge space e.g. in a cathedral of some sort. My favourite examples of this are probably Circostanze che dividono and Ideali which are just dreamy in their floating serenity, though latter provides the first glimpse to the lurking danger. The main theme forms basis to Giulio, Mariuccia e Giordano with a faster pace and more desperate atmosphere than before. However my absolute favourite version has to be Tema conduttore blues which transforms the main theme into a steamy jazz club number complete with vibraphone flourishes. The last versions of the main theme Un futuro senza futuro, Tre amici non si incontreranno mai più and Finale provide a nostalgic look back to the innocence of the album’s beginning that feels now rather distant after the uneasiness of some of the album’s middle tracks.

There’s also another theme heard first at the beginning of the 7-minute introverted slightly out-of-tune solo Come in un sogno for an instrument resembling a harpsichord which has such impressionistic harmonies that it actually sounds a bit menacing and even atonal at times which gives it an eerie quality. The melody moves towards a long developmental section that variates the main theme in a very strange harmonic language that is surprisingly appealing. Again the piano has a wonderful echo that just seems to radiate out of the otherwise empty space. The track’s two reprises are for a solo piano and are even more introverted in nature. Eeriness intensifies with Amore segreto where the balalaikas and strings form a threatening layer for the main theme to appear once again. The second theme returns in Breve incontro, Tre anime in pena and Tre destini which provide couple of atmospheric moments of danger amid the more traditionally beautiful pieces.

The album also includes an abundance of source cues typical of the era. Musica da bello Latina is a Latin-flavoured dance piece with bossa nova rhythms and jazzy trumpet flourishes, however it gets a bit repetitive during its 5-minute duration. There’s also a period waltz suitable for a ballroom scene, Musica da bello valzer which is again lovely but not that memorable eventually. Musica cabaret is actually a completely mad piece featuring weird harmonies and barking brass instruments which is just a blast with its insanity. More traditional cabaret pieces are actually the two Musica jazz cues and Radio blues with their trumpet and clarinet solos over sleazy piano, banjo strumming and drum set backing. There are also two clearly more ‘rural’ tracks providing source music from the surrounding area rather than dance halls: Momento popolare is an solo accordion piece with a strange rhythm (or deliberately played incorrectly) whereas Il fronte Grego is a folk song sung possibly in Greek (I’m not familiar with the language so I can’t really tell).

The score is an introverted piece of music that floats around in emptiness even during the more suspenseful moments. Even the source cues fit rather well into the mix with their intimate chamber or jazz club sized ensembles. Though the main theme can get repetitive after a while and its simplicity may annoy some listeners, there still is wonderful orchestral bliss to discover in this score if given a chance. It’s not a classic for sure but I’m grateful Beat Records took a risk once again and let us hear this rare gem from a time long gone.

Rating: ****

Tracklist:

1. Giovinezza giovinezza (Titoli) (03:05) *****

2. Giovinezza giovinezza (Musica da ballo latina) (05:18) ****

3. Giovinezza giovinezza (Ricordi lontani) (01:22) *****

4. Giovinezza giovinezza (Musica da ballo valzer) (02:21) ***

5. Giovinezza giovinezza (Circostanze che dividono) (02:13) *****

6. Giovinezza giovinezza (Come in un sogno) (07:19) ****

7. Giovinezza giovinezza (Giulio, Mariuccia e Giordano) (02:49) ****

8. Giovinezza giovinezza (Musica cabaret) (01:19) ****

9. Giovinezza giovinezza (Ideali) (01:43) *****

10. Giovinezza giovinezza (Musica jazz) (02:00) ****

11. Giovinezza giovinezza (Amore segreto) (01:38) ****

12. Giovinezza giovinezza (Momento popolare) (01:02) ***

13. Giovinezza giovinezza (Breve incontro) (01:47) ***

14. Giovinezza giovinezza (Musica jazz) (01:21) *****

15. Giovinezza giovinezza (Tre anime in pena) (02:08) ****

16. Giovinezza giovinezza (Radio blues) (02:08) ****

17. Giovinezza giovinezza (Come in un sogno) (02:25) ****

18. Giovinezza giovinezza (Il fronte Greco) (01:15) **

19. Giovinezza giovinezza (Tre destini) (01:18) ***

20. Giovinezza giovinezza (Tema conduttore blues) (02:40) *****

21. Giovinezza giovinezza (Un futuro senza futuro) (01:38) *****

22. Giovinezza giovinezza (Come in un sogno) (01:16) *****

23. Giovinezza giovinezza (Pensando ai giorni felici) (01:06) ****

24. Giovinezza giovinezza (Tre amici non si incontreranno mai più) (01:18) ****

25. Giovinezza giovinezza (Tema conduttore blues) (03:50) ****

26. Giovinezza giovinezza (Finale) (02:20) ****