In the Roman hospital on 92-m to year of life has died after complications of a hip fracture Ennio Morricone, the most famous film composer of the second half of the twentieth century.”It is not my composer. He’s my writer,”His father was a jazz trumpeter himself, Ennio for six years, and tried to compose music, and in the Roman Conservatory of Santa Cecilia got three diploma, class of pipe, instrumentation and composition. Played in the same band that his father played during the war in the Nightclubs and for the Germans and for the allies, wrote and processed music for radio and television shows, made arrangements for pop singers in the 1960-1970-ies was among them, for example, Charles Aznavour, Mina, françoise Hardy, Paul Anka, Mireille Mathieu. Work in the movie at first seemed only one of these more or less random features, but glorified him in it.Read taleesa the first three years of his film career Morricone has somehow worked almost 20 films, but the greatest composer of the era were hatched from plastic craftsman only because of the meeting with his classmate Sergio Leone. Initially, Leone, completely not remember any Ennio and preparing for the filming of the spaghetti Western “a fistful of dollars” (1964), listening to the music of Morricone to a forgotten hack “Duel in Texas”, was disappointed: “Yes this is spoiled Temkin”. Leone meant Dmitri Z. Temkin, former political Commissar of the Petrograd military district, who emigrated to Hollywood, embodied the Western spirit in music to the highest examples of the genre, including “stagecoach,” John Ford. Morricone agreed: “So I ordered spoiled Temkina”. And soon Leone, Morricone and formed with a duet, like the duet Eisenstein with Prokofiev or Fellini with Nino Rota a, could (as, obviously, the other titans — Bernardo Bertolucci, Valerio Zurlini, pier Paolo Pasolini, Elio Petri, gillo Pontecorvo, Terrence Malick, Quentin Tarantino), to assert: “It is not my composer. He is my screenwriter. I replace their bad dialogue his music, emphasizing the views and close-UPS”.In the same 1964, when the first film, Leone and Morricone, the composer began collaborating with the leftist filmmakers of the “new wave”, representing a very different wing of Italian cinema, the opposite of genre entertainment. With Bernardo Bertolucci did they do software the painting “Before the revolution”, and later, several more political films, including the famous “Twentieth century”. Morricone musically scored early “movie protest” Marco Bellocchio (“Fists in the pocket” and “China is near”) and Salvatore Samperi (“Thank you, aunt”). He wrote the music for “Battle of Algiers” gillo Pontecorvo. Finally became a regular composer of the largest leftist radical era of pier Paolo Pasolini: a list of their joint ka��tin includes “Birds big and small”, “Theorem”, “the Flower of the thousand and one nights”, “Salo, or the 120 days of Sodom.”In his codehouse composer of the extreme left movie in 1960s-1970s secular virtuoso tired of Italian cinema of the past three decades, Morricone was a single, not in two but in twenty-two persons. His versatile talent is equally useful and problematic-political and genre cinema; the Directors with whom he collaborated, add Tinto Brass (“Key”), Mario Bava (“Dyabolik”) and Dario Argento (“the Stendhal Syndrome”, “phantom of the Opera”), Giuseppe Tornatore (“the Last cinema Paradiso”, “Malena”, “the Stranger”).When the heyday of cinema in Italy came to an end, Morricone had already a high enough reputation to attract the whales of Hollywood. Like Mike Nichols, William Friedkin, Brian De Palma, Roman Polanski, John carpenter, Terrence Malick. He worked with Pedro Almodovar (“Tie me up!”, 1990). Morricone by the end of the 1980s had many national and international awards, but the Oscars came to him ridiculously late in 2007 — the honorary prize “for contribution”, in 2016 — a full award for the music for the film “Hateful eight” by Quentin Tarantino, another major Director, with whom he formed a creative tandem.And probably for the same sentimental reasons music Morricone one of the main sources of inspiration call such different artists as a film composer Hans Zimmer, guitarist mark Knopfler (Dire Straits), pop producer Danger Mouse and the band Muse. Quoting specific song or just inspired by Morricone, musicians turned to recorded on the subcortex several generations of moviegoers “code” — whether it be code the Western code horror or crime drama — and thus added to his own music a feeling of adventure, thrill or drama. Added where their own talent over. When the band Metallica start their concert with the theme “The Ecstasy Of Gold”, they indicate their desire to be involved in something unshakable and at the same time dangerous. And when Muse play the play “Man With Harmonica” from the film “Once in the West” (1972), they literally childish “play Western.”Past motiveassistant, shots, crack the whip, imitation of the howling of a coyote — in “Nesterovich” scores Morricone’s appeared in the 1960s. And has appeared not only because the composer savings Leone, offsetting the sound effects lack of the usual Symphony musicians. It was at that time more than two compositional innovation — the once Morricone was closely associated with musicians-radicals from the Gruppo di Improvvisazione Nuova Consonanza, which fought in Italy in the achievements of the postwar European avant-garde. In this cooperation we owe the fact that the “newAya music” came to the most that neither is a wide audience which will not withstand five minutes of atonal music in the concert hall, but easily “eats” the same music under a terrible said.Another thing is that he perceived himself not a revolutionary, and heir to the great tradition and the great Italian musical craft. And among the most valuable authors referred not only to Luigi Nono and Stravinsky, the composer, too, in his cinematic, but also Bach and Frescobaldi, and Monteverdi. With great polyphonists Giovanni Pierluigi da Palestrina and does have a chance to become close, entitling in imitation of his “mass of Pope Marcellus” (1562), his “Mass of Pope Francis” (2014).So actually rarely happens, but in his case it is this combination of ancient Foundation, the ephemeral glitter of pre-war film music and avant-garde experience — and spawned the most popular ever written Konomladi. Like the one known as “Chi Mai” from the Professional by Georges Lautner (1981), although it was written in 1971 for the film by Jerzy Kawalerowicz “Magdalena”.In fact, the “Chi Mai” — just a few notes, five touches bow to strings that are tightly stuck in the memory in combination with a key moment of the film. Throughout his career Morricone has proven that the “academic” genre of music for great films (not to the song, namely voice over instrumental music) may be applicable to measurements of the pop hit. If Monty Norman (with the main theme of James bond) and Lalo Schifrin (with music from “Mission impossible”) it happened only once, then Ennio Morricone difficult symbiosis of serious music and Schlager arose from movie to movie.His element was nostalgic chinaapos, a stoic pessimism, narachanka a mixture of irony and pathos. His music is about longing unfulfilled, forever lost, of shattered dreams (in the Leone masterpieces). Stood up to some, or not say, soil cosmism in “Days of heaven” (Terrence Malick, 1978). Exudes the unbearable anguish of waiting for the disaster, doomed never to happen in “the Wilderness Tartari” (Zurlini, 1976). Absorbed the relentless gait of the rebel columns, the “music revolution”, which raved of Alexander Blok in the films of Pontecorvo about the rebels and the terrorists (“the Battle of Algiers”, 1966; “Queimada”, 1969; “Operation “Monster””, 1979).Themes Morricone has repeatedly reworked by jazz musicians and avant-gardists, he was a favorite composer performers of surf and psychedelia. Songs with samples of the compositions of Morricone repeatedly broke into the pop charts. In an interview with “Kommersant” Morricone commented on numerous refining his music this way: “the Main thing that it was not a hack”.A tireless worker — 520 films for 56 years — Morricone not neglected nor “Bloody avtostopom”, true Italian giallo genre of the exploits of man��Jacob, armed with sharp objects or endless sequels to “Octopus” or other “Humanoids”. Often, as in the same “Professional”, his music surpassed even by no means bad directing. The chore — not only as a miracle — not corrupted it. Morricone was in the highest sense of the word aristocratic player who played in the Director’s rules, but when it came to cooperation with congenial to it by the authors, the game was seriously on the spectator rupture of the aorta.Boris Barabanov, Andrey Plakhov, Mikhail Trofimenkov, Sergey Hodnev
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