Ennio Morricone

In His Own Words
Herausgeber: De Rosa, Alessandro

• Gebundenes Buch

Produktbeschreibung

This book present a years-long discussion between composers Ennio Morricone and Alessandro De Rosa about life, music, and the unpredictable ways that the two influence each other.

Produktdetails

• Verlag: Oxford University Press Inc
• Seitenzahl: 368
• Erscheinungstermin: 1. März 2019
• Englisch
• Abmessung: 244mm x 161mm x 32mm
• Gewicht: 806g
• ISBN-13: 9780190681012
• ISBN-10: 0190681012
• Artikelnr.: 53920471

Autorenporträt

Ennio Morricone graduated in trumpet and composition from the Conservatorio di Santa Cecilia in Rome. Throughout his career, he mastered a wide range of musical expressions, first as an orchestrator and conductor in the recording industry, then as a composer for theater, radio, television, and cinema. He has composed over four hundred and fifty film scores and over a hundred absolute music works. He received an Academy Honorary Award in 2007 and won an Academy Award for Best Original Score in 2016, for The Hateful Eight by Quentin Tarantino. Alessandro De Rosa undertook his study of music composition following Ennio Morricone's advice. He studied with Boris Porena in Rome and then graduated from the Royal Conservatoire in The Hague, Netherlands. As a composer and arranger, he collaborated with Jon Anderson of the band Yes. He currently works as a freelance musician and collaborates with the RAI (Radiotelevisione Italiana) and the RSI (Radiotelevisione Svizzera di lingua italiana).

Inhaltsangabe

Translator's Note
Preface
Introduction Where These Conversations Come From
Chapter One Playing (Chess) with Mephisto
Chapter Two A Composer Lent to Cinema
2.1. On Arranging
2.2. The Beginnings in Cinema
2.2.1 Paying My Dues
2.2.2 Luciano Salce
2.3 Sergio Leone and the Dollar Trilogy
2.2.1 A Fistful of Dollars: Myth and Reality
2.2.2 For a Few Dollars More
2.2.3 The Good, the Bad and the Ugly
2.4 Pier Paolo Pasolini
2.4.1 The Hawks and the Sparrows and a Strange Poem
2.4.2 Teorema and an Unrealized Story
2.4.3 Surrendering to Pasolini
2.5 Collaborations, Experiments, and Professional Consolidation
2.5.1 Pontecorvo, De Seta, Bellocchio
2.5.2 Bolognini, Montaldo
2.5.3 Wertmüller, Bertolucci
2.5.4 Consensus or Consumption? 1968 and Once Upon a Time in the West
2.5.5 Duck, You Sucker
2.5.6 Elio Petri
2.5.7 Sergio the Producer
2.5.8 Once Upon a Time in America
2.5.9 The "Leningrad Project" and Leone's Death
Chapter Three Music and Images
3.1 Reflections and Memories of a Film Music Composer
3.1.1 No Theme? More Fun !
3.1.2 Giuseppe Tornatore
3.1.3 Singers and Songs in Film: On Music's Adaptability
3.1.4 Quentin Tarantino
3.1.5 Temporality and the "EST" Principle
3.2 Backward Path to the Beginnings in Hollywood
3.2.1 The Academy Honorary Award
3.2.2 The Beginnings in U.S. Cinema
3.2.3 A House in the United States?
3.2.4 U.S. Composers
3.2.5 Terrence Malick
3.2.6 The Interpreter Didn't Help with John Carpenter
3.3 Creativity and Constraints: The Double Aesthetics
3.4 On Theater, the Musical, and Television
3.4.1 The Betrothed
3.4.2 Moses, the Lawgiver
3.4.3 Marco Polo
3.4.4 Secret of the Sahara
3.4.5 The Octopus
3.5 Pains and Experiments
3.5.1 Roberto Faenza
3.5.2 Nino Rota
3.5.3 Difficult Relationships
3.5.4 Joanou, Stone, and the Overtones
3.5.5 Warren Beatty
3.5.6 Pride and Repentance
3.5.7 Fights and Arguments
3.6 Beyond Cinema, Beyond Music
Chapter 4 Mystery and Mastery
4.1 The Mystery of Creation
4.2 What Is Music?
4.2.1 Birth, Death, and Resurrection of Music
4.2.2 In Search of Myself: How to Listen to Contemporary Music
4.2.3 My Way
4.2.4 A Dilated Present
4.2.5 Studying Music Today?
4.3 A Sophisticated Balance between the Predictable and the Unforeseeable
4.4 Digressions
4.4.1 Cinema's Transformations
4.4.2 Timbre, Sound, and Performers
4.4.3 On Teaching
4.4.4 High Productivity? A Healthy Mind in a Healthy Body
Chapter Five An Absolute Music?
5.1 The Roots
5.1.1 A Short Introduction to the "Absolute"
5.1.2 Darmstadt: A Summer of Experiments
5.1.3 Gruppo d'Improvvisazione Nuova Consonanza
5.2 A Response to the Conflict of Times: Towards "Dynamic Immobility"
5.2.1 Suoni per Dino
5.2.2 Vidi Aquam. Id Est Benacum
5.3 Musical Creationism versus Musical Evolutionism
5.3.1 Gestazione
5.3.2 Beliefs: The Origins of Life and the Universe
5.4 Mystical Production
5.4.1 Mass for Pope Francis
5.5 The Ideal of Unity: Blend and Hope
5.5.1 The Mission
5.5.2 Voci dal silenzio and La voce dei sommersi
5.5.3 Cantata per l'Europa and a Poem for Maria
5.6 Exchanges, Form, and Linguistic Combinations
5.6.1 UT
5.6.2 The Four Concertos: Form and Non-Form
5.7 The Future of Music: Noise and Silence
Chapter 6 Looking Ahead: A Silent Nod towards the Future
Chronological List of the Absolute Music
Chronological List of the Applied Music
Acknowledgments
Index