Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of MYSTERY SCHOOL, POLYPHONETIC FOR SUN RA TED BRINKLEY AND DAVID BOYCE, BARBEDWIRE - 37 graphic scores for trio volume one, COMPASSION AND EVIDENCE, GAZE EMANATIONS, PRISM MIRROR LENS, live at yoshi's, that overt desire of object, and 18 more. , and , . Purchasable with gift card Buy Digital Discography $129.35 USD or more (35% OFF) Send as Gift Share / Embed 1. nella villa di fregene (rota) 02:16 info buy track 2. the mighty, mighty james bond medley 09:11 info buy track 3. saraghina's rhumba 03:36 info buy track 4. il guardino delle fate (from juliet of the spirits) 04:56 info buy track 5. il teatrino delle suore (from juliet of the spirits) 06:18 info buy track 6. modern times 03:13 info buy track 7. oola goes to work 02:38 info buy track 8. theme from amarcord 02:55 info buy track 9. theme from cape fear 01:25 info buy track 10. theme from psycho 02:07 info buy track 11. theme from vertigo 02:16 info buy track 12. morricone medley 08:08 info buy track 13. la poupee automate 02:10 info buy track about orchestra nostalgico (formerly the clubfoot orchestra), takes on film music for the cinema of fellini, hitchcock, leone, chaplin, and more $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released February 14, 2014 catharine clune: violin; chris grady: trumpet; tom yoder: trombone; sheldon brown: woodwinds; phillip greenlief: woodwinds; joshua raoul brody: keyboards, accordion; steve kirk: guitar; myles boisen: bass; john hanes: drums - special guests: zoltan di bartolo: voice; amber lamprecht: oboe $(".tralbum-credits").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); license all rights reserved tags Tags alfred hitchcock experimental nino rota acoustic noise ennio morricone federico fellini film music improvised music james bond jazz new music post jazz Oakland Shopping cart total USD Check out about Phillip Greenlief Oakland, California
ennio morricone film music 16
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Morricone's best-known compositions include "The Ecstasy of Gold", "Se telefonando", "Man with a Harmonica", "Here's to You", the UK No. 2 single "Chi Mai", "Gabriel's Oboe", and "E Più Ti Penso". In 1971, he received a "Targa d'Oro" for worldwide sales of 22 million,[11] and by 2016 Morricone had sold more than 70 million records worldwide.[12] In 2007, he received the Academy Honorary Award "for his magnificent and multifaceted contributions to the art of film music". He was nominated for a further six Oscars, and in 2016, received his only competitive Academy Award for his score to Quentin Tarantino's film The Hateful Eight, at the time becoming the oldest person ever to win a competitive Oscar.[13] His other achievements include three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d'Argento, two European Film Awards, the Golden Lion Honorary Award, and the Polar Music Prize in 2010. Morricone influenced many artists from film scoring to other styles and genres, including Hans Zimmer,[14] Danger Mouse,[15] Dire Straits,[16] Muse,[17] Metallica,[18] Fields of the Nephilim,[19] and Radiohead.[20]
After graduation in 1954, Morricone started to write and arrange music as a ghost writer for films credited to already well-known composers, while also arranging for many light music orchestras of the RAI television network, working especially with Armando Trovajoli, Alessandro Cicognini, and Carlo Savina. He occasionally adopted Anglicized pseudonyms, such as Dan Savio and Leo Nichols.[40]
1961 marked his real film debut with Luciano Salce's Il Federale (The Fascist). In an interview with American composer Fred Karlin, Morricone discussed his beginnings, stating, "My first films were light comedies or costume movies that required simple musical scores that were easily created, a genre that I never completely abandoned even when I went on to much more important films with major directors".[41]
Although his first films were undistinguished,[clarification needed] Morricone's arrangement of an American folk song intrigued director and former schoolmate Sergio Leone. Before being associated with Leone, Morricone already had composed some music for less-known western movies such as Duello nel Texas (aka Gunfight at Red Sands) (1963). In 1962, Morricone met American folksinger Peter Tevis, with the two collaborating on a version of Woody Guthrie's Pastures of Plenty. Tevis is credited with singing the lyrics of Morricone's songs such as "A Gringo Like Me" (from Gunfight at Red Sands) and "Lonesome Billy" (from Bullets Don't Argue).[51] Tevis later recorded a vocal version of A Fistful of Dollars that was not used in the film.
As memorable as Leone's close-ups, harsh violence, and black comedy, Morricone's work helped to expand the musical possibilities of film scoring. Initially, Morricone was billed on the film as Dan Savio, a name they had used on Duello nel Texas to help its appeal on the international market. A Fistful of Dollars came out in Italy in 1964 and was released in America three years later, greatly popularising the so-called Spaghetti Western genre. For the American release, Sergio Leone followed Morricone and Massimo Dallamano's lead and decided to adopt an American-sounding name, Bob Robertson. Over the film's theatrical release, it grossed more than any other Italian film up to that point.[53] The film debuted in the United States in January 1967, where it grossed US$4.5 million for the year.[53] It eventually grossed $14.5 million in its American release,[53] against its budget of US$200,000.[54][55]
The composer subsequently scored Leone's other two Dollars Trilogy (or Man with No Name Trilogy) spaghetti westerns: For a Few Dollars More (1965) and The Good, the Bad, and the Ugly (1966). All three films starred the American actor Clint Eastwood as The Man With No Name and depicted Leone's own intense vision of the mythical West. Morricone commented in 2007: "Some of the music was written before the film, which was unusual. Leone's films were made like that because he wanted the music to be an important part of it; he kept the scenes longer because he did not want the music to end." According to Morricone this explains "why the films are so slow".[58]
In addition, Morricone composed music for the western films by Sergio Sollima, The Big Gundown (with Lee Van Cleef, 1966), Face to Face (1967), and Run, Man, Run (1968), as well as the 1970 crime thriller Violent City (with Charles Bronson) and the poliziottesco film Revolver (1973).[72][74][75]
With Leone's films, Ennio Morricone's name had been put firmly on the map. Most of Morricone's film scores of the 1960s were composed outside the Spaghetti Western genre, while still using Alessandroni's team. Their music included the themes for Il Malamondo (1964), Slalom (1965), and Listen, Let's Make Love (1967). In 1968, Morricone reduced his work outside the movie business and wrote scores for 20 films in the same year. The scores included psychedelic accompaniment for Mario Bava's superhero romp Danger: Diabolik (1968).[76]
In addition, Morricone composed music for many popular and cult Italian giallo films, such as Unknown Woman (1969), Forbidden Photos of a Lady Above Suspicion (1970), A Lizard in a Woman's Skin (1971), Cold Eyes of Fear (1971), The Fifth Cord (1971), Short Night of Glass Dolls (1971), The Black Belly of the Tarantula (1971) My Dear Killer (1972), What Have You Done to Solange? (1972), Who Saw Her Die? (1972), Spasmo (1974), and Autopsy (1975).
The Dollars Trilogy was not released in the United States until 1967 when United Artists, who had already enjoyed success distributing the British-produced James Bond films in the United States, decided to release Sergio Leone's Spaghetti Westerns. The American release gave Morricone an exposure in America and his film music became quite popular in the United States.[79]
One of Morricone's first contributions to an American director concerned his music for the religious epic film The Bible: In the Beginning... by John Huston. According to Sergio Miceli's book Morricone, la musica, il cinema, Morricone wrote about 15 or 16 minutes of music, which were recorded for a screen test and conducted by Franco Ferrara. At first Morricone's teacher Goffredo Petrassi had been engaged to write the score for the great big-budget epic, but Huston preferred another composer. RCA Records then proposed Morricone who was under contract with them, but a conflict between the film's producer Dino De Laurentiis and RCA occurred. The producer wanted to have exclusive rights for the soundtrack, while RCA still had the monopoly on Morricone at that time and did not want to release the composer. Subsequently, Morricone's work was rejected because he did not get permission from RCA to work for Dino De Laurentiis alone. The composer reused the parts of his unused score for The Bible: In the Beginning in such films as The Return of Ringo (1965) by Duccio Tessari and Alberto Negrin's The Secret of the Sahara (1987).
In 1970, Morricone composed the music for Don Siegel's Two Mules for Sister Sara, an American-Mexican western film starring Shirley MacLaine and Clint Eastwood. The same year the composer also delivered the title theme The Men from Shiloh for the American Western television series The Virginian.[81]
Despite the fact that Morricone had produced some of the most popular and widely imitated film music ever written throughout the 1960s and 1970s, Days of Heaven earned him his first Oscar nomination for Best Original Score, with his score up against Jerry Goldsmith's The Boys from Brazil, Dave Grusin's Heaven Can Wait, Giorgio Moroder's Midnight Express (the eventual winner), and John Williams's Superman: The Movie at the Oscar ceremonies in 1979.[87] 2ff7e9595c
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