The ones I listen to... #2
As I mentioned many times in previous texts, I’m a big film fan, especially when it comes to titles from the 20th century. Music is an important element of every good movie, but frankly, I seldom wish to hear film music outside the confines of the film itself. In the past 10-20 years, there have been significant changes in film music. The general opinion these days is that music must strictly be in the service of a visual component. One of the consequences is that modern film music relies less and less on singable and memorable themes and melodies. Instead, it often sounds quite alike and by itself isn’t very impactful in a musical sense.
When talking about instrumental music, I always prefer ad hoc composers to those working primarily for films. One of the rare exceptions is the legendary Ennio Morricone. The music of this composer, which graced over 400 film titles, can easily be enjoyed on its own, although every piece evokes unforgettable scenes.
I heard Morricone’s music for the first time as a child, back in the mid-1980s. This was mostly thanks to various documentaries and TV shows for children made in former Yugoslavia, that often used his music as a backdrop. I have seen the films themselves for the first time many years later. My parents and especially my grandparents, were quite strict regarding watching movies for adults. This is so much different from today where kids watch whatever they come across without many restrictions. Anyway, I was much more familiar with Morricone’s music rather than with the films it was originally made for.
Morricone is one of a few classically trained modern composers who I truly appreciate. This is due to his undeniable talent and definite rebellion against tradition and conventions. His work for films has contributed to this to a great degree. Although Morricone is today considered one of the most important and most celebrated film composers, his beginnings were quite modest. Many of the films Morricone composed music for were actually low-budget productions. This includes the hailed Italian Westerns directed by Sergio Leone. Those were conceived as a sort of parody and critique of the American Western but were also their more affordable alternative. This is evident in music as well, which doesn’t employ the typical large orchestral arrangements, but far more modest instrumentation. This included some revolutionary moves for the time, like using an electric guitar and various sound effects. With this, Morricone has proved himself as a pioneer and an innovator.
Still, the elements mostly associated with his music are beautiful melodies and themes. Many of them have a ring of melodrama and pathos, which only contributes to their timeless charm and appeal. Morricone is also a master of atmosphere, proven by his scores for countless European films from the 60s and 70s. Here, I would particularly emphasize his collaboration with Dario Argento, perhaps the most notable representative of the Giallo style. These are films that combine elements of a detective story with mystery, suspense, and horror. Morricone’s music is a perfect vehicle for such settings. Of course, this is only the tip of the iceberg. Morricone was so prolific author that you must rely on various compilations to become well acquainted with his music.
Speaking of which, from my personal collection, I would recommend two compilation albums, both released in 2004. The first one is called “Movie Masterpieces” and it contains a selection of works that an average listener would be instantly familiar with. A must-have for any music fan. The second one, “Morricone Aromatico”, is a double CD, featuring his lesser-known works and a few rarities as well. This album was interestingly conceived through the theme of different scents that its editor associated with a certain piece. It is a true testament to the colorful and eclectic world of the composer.
Morricone has received numerous awards during his life. Ironically, he won his first Oscar rather late, in 2016. This was for a not-very-memorable score to the film “The Hateful Eight”, directed by (IMO) one of the most overhyped and overappreciated directors ever. Still, this won’t shift my feelings toward an Italian maestro whose music has inspired, surprised, and made me cry so many times.