Ennio Morricone
Ennio Morricone orchestrator | |
---|---|
Instruments | Trumpet, piano |
Years active | 1946–2020 |
Spouse(s) |
Maria Travia (m. 1956) |
Website | enniomorricone |
Signature | |
Ennio Morricone
His filmography includes more than 70 award-winning films, all Sergio Leone's films since A Fistful of Dollars, all Giuseppe Tornatore's films since Cinema Paradiso, Dario Argento's Animal Trilogy, as well as The Battle of Algiers (1968), 1900 (1976), La Cage aux Folles (1978), Le Professionnel (1981), The Thing (1982), and Tie Me Up! Tie Me Down! (1989). He received Academy Award for Best Original Score nominations for Days of Heaven (1978), The Mission (1986), The Untouchables (1987), Bugsy (1991), Malèna (2000) and The Hateful Eight (2015), winning for the latter.[4] He won the Academy Honorary Award in 2007.[5] His score to The Good, the Bad and the Ugly (1966) is regarded as one of the most recognizable and influential soundtracks in history.[6] It was inducted into the Grammy Hall of Fame.[7]
After playing the trumpet in jazz bands in the 1940s, he became a studio arranger for
Morricone composed for Hollywood directors such as Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson, Oliver Stone, Warren Beatty, John Carpenter, and Quentin Tarantino. He has also worked with directors such as Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Roman Polanski, Henri Verneuil, Mario Bava, Lucio Fulci, Umberto Lenzi, Gillo Pontecorvo, and Pier Paolo Pasolini. His best-known compositions include "The Ecstasy of Gold", "Se telefonando", "Man with a Harmonica", "Here's to You", "Chi Mai", "Gabriel's Oboe", and "E Più Ti Penso". He has influenced many artists including Hans Zimmer,[10] Danger Mouse,[11] Dire Straits,[12] Muse,[13] Metallica,[14] Fields of the Nephilim,[15] and Radiohead.[16]
Early life and education
Morricone was born in Rome, the son of Libera Ridolfi and Mario Morricone, a musician. At the time of his birth
Morricone's father first taught him to read music and to play several instruments. He entered the
In 1941 Morricone was chosen among the students of the Saint Cecilia Conservatory to be a part of the Orchestra of the Opera, directed by Carlo Zecchi on the occasion of a tour of the Veneto region.[20] He received his diploma in trumpet in 1946,[21] continuing to work in classical composition and arrangement.[17] Morricone received the Diploma in Instrumentation for Band Arrangement with a mark of 9/10 in 1952. His studies concluded at the Conservatory of Santa Cecilia in 1954 when he obtained a final 9.5/10 in his Diploma in Composition under Petrassi.[22]
Career
First compositions
Morricone wrote his first compositions when he was six years old and he was encouraged to develop his natural talents.[23] In 1946, he composed "Il Mattino" ("The Morning") for voice and piano on a text by Fukuko, first in a group of seven "youth" Lieder.[24]
In the following years, he continued to write music for the theatre as well as classical music for voice and piano, such as "Imitazione", based on a text by Italian poet Giacomo Leopardi, "Intimità", based on a text by Olinto Dini, "Distacco I" and "Distacco II" with words by R. Gnoli, "Oboe Sommerso" for baritone and five instruments with words by poet Salvatore Quasimodo, and "Verrà la Morte", for alto and piano, based on a text by novelist Cesare Pavese.[24]
In 1953, Morricone was asked by Gorni Kramer and Lelio Luttazzi to write an arrangement for some medleys in an American style for a series of evening radio shows. The composer continued with the composition of other 'serious' classical pieces, thus demonstrating the flexibility and eclecticism that always has been an integral part of his character. Many orchestral and chamber compositions date, in fact, from the period between 1954 and 1959: Musica per archi e pianoforte (1954), Invenzione, Canone e Ricercare per piano; Sestetto per flauto, oboe, fagotto, violino, viola, e violoncello (1955), Dodici Variazione per oboe, violoncello, e piano; Trio per clarinetto, corno, e violoncello; Variazione su un tema di Frescobaldi (1956); Quattro pezzi per chitarra (1957); Distanze per violino, violoncello, e piano; Musica per undici violini, Tre Studi per flauto, clarinetto, e fagotto (1958); and the Concerto per orchestra (1957), dedicated to his teacher Goffredo Petrassi.[24][25]
Morricone soon gained popularity by writing his first background music for radio dramas and quickly moved into film.[26]
Composing for radio, television, and pop artists
Morricone's career as an arranger began in 1950, by arranging the piece Mamma Bianca (Narciso Parigi).
In 1956, Morricone started to support his family by playing in a
Throughout his career, Morricone composed songs for several national and international jazz and pop artists, including Gianni Morandi (Go Kart Twist, 1962), Alberto Lionello (La donna che vale, 1959), Edoardo Vianello (Ornella, 1960; Cicciona cha-cha, 1960; Faccio finta di dormire, 1961; T'ho conosciuta, 1963; and also Pinne, fucine ed occhiali, I Watussi and Guarda come dondolo[29]), Nora Orlandi (Arianna, 1960), Jimmy Fontana (Twist no. 9; Nicole, 1962), Rita Pavone (Come te non c'e' nessuno and Pel di carota from 1962, arranged by Luis Bacalov), Catherine Spaak (Penso a te; Questi vent'anni miei, 1964), Luigi Tenco (Quello che conta; Tra tanta gente; 1962), Gino Paoli (Nel corso from 1963, written by Morricone with Paoli), Renato Rascel (Scirocco, 1964), Paul Anka (Ogni Volta), Amii Stewart, Rosy Armen (L'Amore Gira), Milva (Ridevi, Metti Una Sera A Cena), Françoise Hardy (Je changerais d'avis, 1966), Mireille Mathieu (Mon ami de toujours; Pas vu, pas pris, 1971; J'oublie la pluie et le soleil, 1974), and Demis Roussos (I Like The World, 1970).[30][31]
In 1963, the composer co-wrote (with Roby Ferrante) the music for the composition "Ogni volta" ("Every Time"), a song that was performed by
Another success was his composition "Se telefonando". Performed by Mina, it was a track on Studio Uno 66, the 4th studio album by Mina. Morricone's sophisticated arrangement of "Se telefonando" was a combination of melodic trumpet lines, Hal Blaine–style drumming, a string set, a 1960s Europop female choir, and intensive subsonic-sounding trombones. The Italian Hitparade No. 7 song had eight transitions of tonality building tension throughout the chorus. During the following decades, the song was recorded by several performers in Italy and abroad including covers by Françoise Hardy and Iva Zanicchi (1966), Delta V (2005), Vanessa and the O's (2007), and Neil Hannon (2008).[33] Françoise Hardy – Mon amie la rose site in the reader's poll conducted by the newspaper la Repubblica to celebrate Mina's 70th anniversary in 2010, 30,000 voters picked the track as the best song ever recorded by Mina.[34]
In 1987, Morricone co-wrote
First film scores
After graduation in 1954, Morricone started to write and arrange music as a
In 1959, Morricone was the conductor (and uncredited co-composer) for Mario Nascimbene's score to Morte di un amico (Death of a Friend), an Italian drama directed by Franco Rossi. In the same year, he composed music for the theatre show Il lieto fine by Luciano Salce.
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".[37]
With Il Federale Morricone began a long-run collaboration with Luciano Salce. In 1962, Morricone composed the jazz-influenced score for Salce's comedy La voglia matta (Crazy Desire). That year Morricone also arranged Italian singer Edoardo Vianello's summer hit "Pinne, fucile, e occhiali", a cha-cha song, peppered with added water effects, unusual instrumental sounds and unexpected stops and starts.[38]
Morricone wrote works for the concert hall in a more avant-garde style.[39] Some of these have been recorded, such as Ut, a trumpet concerto dedicated to Mauro Maur.[40]
The Group and New Consonance
From 1964 up to their eventual disbandment in 1980, Morricone was part of Gruppo di Improvvisazione Nuova Consonanza (G.I.N.C.), a group of composers who performed and recorded avant-garde free improvisations. The Rome-based avant-garde ensemble was dedicated to the development of improvisation and new music methods. The ensemble functioned as a laboratory of sorts, working with anti-musical systems and sound techniques in an attempt to redefine the new music ensemble and explore "New Consonance".[41]
Known as "The Group" or "Il Gruppo", they released seven albums across the
Morricone played a key role in The Group and was among the core members in its revolving line-up; in addition to serving as their trumpet player, he directed them on many occasions and they can be heard on a large number of his scores.
Film music genres
Comedy
Morricone's earliest scores were Italian light comedy and costume pictures, where he learned to write simple, memorable themes. During the 1960s and 1970s he composed the scores for comedies such as Eighteen in the Sun (Diciottenni al sole, 1962), Il Successo (1963), Lina Wertmüller's I basilischi (The Basilisks/The Lizards, 1963),[37] Slalom (1965), Menage all'italiana (Menage Italian Style, 1965), How I Learned to Love Women (Come imparai ad amare le donne, 1966), Her Harem (L'harem, 1967), A Fine Pair (Ruba al prossimo tuo, 1968), L'Alibi (1969), This Kind of Love (Questa specie d'amore, 1972), Winged Devils (Forza "G", 1972), and Fiorina la vacca (1972).
His best-known scores for comedies includes La Cage aux Folles (1978) and La Cage aux Folles II (1980), both directed by Édouard Molinaro, Il ladrone (The Good Thief, 1980), Georges Lautner's La Cage aux Folles 3: The Wedding (1985), Pedro Almodóvar's Tie Me Up! Tie Me Down! (1990) and Warren Beatty's Bulworth (1998). Morricone never ceased to arrange and write music for comedies. In 2007, he composed a lighthearted score for the Italian romantic comedy Tutte le Donne della mia Vita by Simona Izzo, the director who co-wrote the Morricone-scored religious mini-series Il Papa Buono.[46]
Westerns
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).[47] Tevis later recorded a vocal version of A Fistful of Dollars that was not used in the film.
Association with Sergio Leone The turning point in Morricone's career took place in 1964, the year in which his third child, Andrea Morricone, who would also become a film composer, was born. Film director and former schoolmate Sergio Leone hired Morricone, and together they created a distinctive score to accompany Leone's different version of the Western, A Fistful of Dollars (1964).[48]
The Dollars Trilogy
Because budget strictures limited Morricone's access to a full orchestra, he used gunshots, cracking whips, whistle, voices, jew's harp, trumpets, and the new Fender electric guitar, instead of orchestral arrangements of Western standards à la John Ford. Morricone used his special effects to punctuate and comically tweak the action—cluing in the audience to the taciturn man's ironic stance.[17]: 69–77
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.[49] The film debuted in the United States in January 1967, where it grossed US$4.5 million for the year.[49] It eventually grossed $14.5 million in its American release,[49] against its budget of US$200,000.[50][51]
With the score of A Fistful of Dollars, Morricone began his 20-year collaboration with his childhood friend Alessandro Alessandroni and his Cantori Moderni.[52] Alessandroni provided the whistling and the twanging guitar on the film scores, while his Cantori Moderni were a flexible troupe of modern singers. Morricone in particular drew on the solo soprano of the group, Edda Dell'Orso, at the height of her powers "an extraordinary voice at my disposal".[53]
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".[54]
Despite the small film budgets, the Dollars Trilogy was a box-office success. The available budget for The Good, the Bad, and The Ugly was about US$1.2 million, but it became the most successful film of the Dollars Trilogy, grossing US$25.1 million in the United States and more than
The main theme to The Good, the Bad, and The Ugly, also titled "The Good, the Bad and the Ugly", was a hit in 1968 for Hugo Montenegro, whose rendition was a No.2 Billboard pop single in the U.S. and a U.K. No.1 single (for four weeks from mid-November that year).[56]
"
Once Upon a Time in the West and others
Morricone's score for Once Upon a Time in the West is one of the best-selling original instrumental scores in the world today, with as many as 10 million copies sold, including one million copies in France,[62] and more than 800,000 copies in the Netherlands.[63][64][65]
The collaboration with Leone is considered one of the exemplary
In early 2003, Italian filmmaker Giuseppe Tornatore announced he would direct a film called Leningrad.[66] The film has yet to go into production and Morricone was cagey as to details on account of Tornatore's superstitious nature.[67]
Association with Sergio Corbucci and Sergio Sollima
Two years after the start of his collaboration with Sergio Leone, Morricone also started to score music for another Spaghetti Western director,
In addition, Morricone composed music for the western films by
Other westerns
Other relevant scores for less popular Spaghetti Westerns include Duello nel Texas (1963), Bullets Don't Argue (1964), A Pistol for Ringo (1965), The Return of Ringo (1965), Seven Guns for the MacGregors (1966), The Hills Run Red (1966), Giulio Petroni's Death Rides a Horse (1967) and Tepepa (1968), A Bullet for the General (1967), Guns for San Sebastian (with Charles Bronson and Anthony Quinn, 1968), A Sky Full of Stars for a Roof (1968), The Five Man Army (1969), Don Siegel's Two Mules for Sister Sara (1970), Life Is Tough, Eh Providence? (1972), and Buddy Goes West (1981).[17]: 115–117
Dramas and political movies
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).[72]
Morricone collaborated with
In 1970, Morricone wrote the score for Violent City. That same year, he received his first
Giallo and Horror
Morricone's eclecticism found its way to films in the horror genre, such as the giallo thrillers of Dario Argento, from The Bird with the Crystal Plumage (1970), The Cat o' Nine Tails (1971), and Four Flies on Grey Velvet (1971) to The Stendhal Syndrome (1996) and The Phantom of the Opera (1998). His other horror scores include Nightmare Castle (1965), A Quiet Place in the Country (1968), The Antichrist (1974), and Night Train Murders (1975).
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).
In 1977 Morricone scored John Boorman's Exorcist II: The Heretic and Alberto De Martino's apocalyptic horror film Holocaust 2000, starring Kirk Douglas. In 1982 he composed the score for John Carpenter's science fiction horror movie The Thing.[74] Morricone's main theme for the film was reflected in Marco Beltrami's film's score of prequel of the 1982 film, which was released in 2011.
Hollywood career
The Dollars Trilogy was not released in the United States until 1967 when
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).
Morricone never left Rome to compose his music and never learned to speak English. But given that the composer always worked in a wide field of composition genres, from "absolute music", which he always produced, to "applied music", working as orchestrator as well as conductor in the recording field, and then as a composer for theatre, radio, and cinema, the impression arises that he never really cared that much about his standing in the eyes of Hollywood.[76]
1970–1985: From Two Mules to Red Sonja
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.[77]
In 1974–1975 Morricone wrote music for Spazio 1999, an Italian-produced compilation movie made to launch the Italian-British television series
In 1978, the composer worked with Terrence Malick for Days of Heaven starring Richard Gere, for which he earned his first nomination at the Oscars for Best Original Score.[82]
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.[83]
1986–2020: From The Mission to The Hateful Eight
Association with Roland Joffé
The Mission, directed by Joffé, was about a piece of history considerably more distant, as
Morricone finally received a second Oscar nomination for The Mission.[86] Morricone's original score lost out to Herbie Hancock's coolly arranged jazz on Bertrand Tavernier's Round Midnight. It was considered a surprising win and a controversial one, given that much of the music in the film was pre-existing.[87] Morricone stated the following during a 2001 interview with The Guardian: "I definitely felt that I should have won for The Mission. Especially when you consider that the Oscar winner that year was Round Midnight, which was not an original score. It had a very good arrangement by Herbie Hancock, but it used existing pieces. So there could be no comparison with The Mission. There was a theft!"[88] His score for The Mission was ranked at number 1 in a poll of the all-time greatest film scores. The top 10 list was compiled by 40 film composers such as Michael Giacchino and Carter Burwell.[87] The score is ranked 23rd on the AFI's list of 25 greatest film scores of all time.[89]
Association with De Palma and Levinson
On three occasions, Brian De Palma worked with Morricone: The Untouchables (1987), the 1989 war drama Casualties of War and the science fiction film Mission to Mars (2000).[74] Morricone's score for The Untouchables resulted in his third nomination for Academy Award for Best Original Score.[90]
In a 2001 interview with The Guardian, Morricone stated that he had good experiences with De Palma: "De Palma is delicious! He respects music, he respects composers. For The Untouchables, everything I proposed to him was fine, but then he wanted a piece that I didn't like at all, and of course, we didn't have an agreement on that. It was something I didn't want to write – a triumphal piece for the police. I think I wrote nine different pieces for this in total and I said, 'Please don't choose the sixth!' because it was the worst. And guess what he chose? The sixth one. But it really suits the movie."[88]
Another American director, Barry Levinson, commissioned the composer on two occasions. First, for the crime-drama Bugsy, starring Warren Beatty, which received ten Oscar nominations,[91] winning two for Best Art Direction-Set Decoration (Dennis Gassner, Nancy Haigh) and Best Costume Design.[92]
"He doesn't have a piano in his studio, I always thought that with composers, you sit at the piano, and you try to find the melody. There's no such thing with Morricone. He hears a melody, and he writes it down. He hears the orchestration completely done", said Levinson in an interview.[93]
Other notable Hollywood scores
During his career in Hollywood, Morricone was approached for numerous other projects, including the Gregory Nava drama A Time of Destiny (1988),[94] Frantic by Polish-French director Roman Polanski (1988, starring Harrison Ford), Franco Zeffirelli's 1990 drama film Hamlet (starring Mel Gibson and Glenn Close), the neo-noir[95] crime film State of Grace by Phil Joanou (1990, starring Sean Penn and Ed Harris),[96] Rampage (1992) by William Friedkin,[97] and the romantic drama Love Affair (1994) by Warren Beatty.[98]
Association with Quentin Tarantino
In 2009, Tarantino originally wanted Morricone to compose the film score for Inglourious Basterds.[99][100] Morricone was unable to, because the film's sped-up production schedule conflicted with his scoring of Giuseppe Tornatore's Baarìa.[101] However, Tarantino did use eight tracks composed by Morricone in the film, with four of them included on the soundtrack. The tracks came originally from Morricone's scores for The Big Gundown (1966), Revolver (1973) and Allonsanfàn (1974).[102][103]
In 2012, Morricone composed the song "Ancora Qui" with lyrics by Italian singer Elisa for Tarantino's Django Unchained, a track that appeared together with three existing music tracks composed by Morricone on the soundtrack. "Ancora Qui" was one of the contenders for an Academy Award nomination in the Best Original Song category, but eventually the song was not nominated.[104] On 4 January 2013 Morricone presented Tarantino with a Life Achievement Award at a special ceremony being cast as a continuation of the International Rome Film Festival.[105] In 2014, Morricone was misquoted as claiming that he would "never work" with Tarantino again,[106] and later agreed to write an original film score for Tarantino's The Hateful Eight, which won him an Academy Award in 2016 in the Best Original Score category.[107] His nomination for this film marked him at that time as the second oldest nominee in Academy history, behind Gloria Stuart.[108] Morricone's win marked his first competitive Oscar, and at the age of 87, he became the oldest person at the time to win a competitive Oscar.[109]
Composer for Giuseppe Tornatore
In 1988, Morricone started an ongoing and very successful collaboration with Italian director Giuseppe Tornatore. His first score for Tornatore was for the drama film Cinema Paradiso. The international version of the film won the
The composer won several music awards for his scores in Tornatore's movies. Morricone received a fifth Academy Award nomination and a
Television series and last works
Morricone wrote the score for the Mafia television series La piovra seasons 2 to 10 from 1985 to 2001, including the themes "Droga e sangue" ("Drugs and Blood"), "La Morale", and "L'Immorale". Morricone worked as the conductor of seasons 3 to 5 of the series. He also worked as the music supervisor for the television project La bibbia ("The Bible").[113]
In the late 1990s, he collaborated with his son Andrea on the Ultimo crime dramas, resulting in Ultimo (1998), Ultimo 2 – La sfida (1999), Ultimo 3 – L'infiltrato (2004) and Ultimo 4 – L'occhio del falco (2013).
In the 2000s, Morricone continued to compose music for successful television series such as Il Cuore nel Pozzo (2005), Karol: A Man Who Became Pope (2005), La provinciale (2006), Giovanni Falcone (2007), Pane e libertà (2009) and Come Un Delfino 1–2 (2011–2013).[116]
Morricone provided the string arrangements on Morrissey's "Dear God Please Help Me" from the album Ringleader of the Tormentors in 2006.[117]
In 2008, the composer recorded music for a Lancia commercial, featuring Richard Gere and directed by Harald Zwart (known for directing The Pink Panther 2).[118]
In spring and summer 2010, Morricone worked with Hayley Westenra for a collaboration on her album Paradiso.[119] The album features new songs written by Morricone, as well as some of his best-known film compositions of the last 50 years.[120][121] Westenra recorded the album with Morricone's orchestra in Rome during the summer of 2010.[122][123][124]
Since 1995, he composed the music for several advertising campaigns of Dolce & Gabbana. The commercials were directed by Giuseppe Tornatore.[125]
In 2013, Morricone collaborated with Italian singer-songwriter Laura Pausini on a new version of her hit single "La solitudine" for her 20 years anniversary greatest hits album 20 – The Greatest Hits.[126]
Morricone composed the music for The Best Offer (2013) by Giuseppe Tornatore.[127]
He wrote the score for Christian Carion's
In June 2015, Morricone premiered his Missa Papae Francisci (Mass for Pope Francis) at Rome's
Live performances
Before receiving his diplomas in trumpet, composition and instrumentation from the conservatory, Morricone was already active as a trumpet player, often performing in an orchestra that specialised in music written for films. After completing his education at Saint Cecilia, the composer honed his orchestration skills as an arranger for Italian radio and television. In order to support himself, he moved to RCA in the early sixties and entered the front ranks of the Italian recording industry.[134] Since 1964, Morricone was also a founding member of the Rome-based avant-garde ensemble Gruppo di Improvvisazione Nuova Consonanza. During the existence of the group (until 1978), Morricone performed several times with the group as trumpet player.[135]
To ready his music for live performance, he joined smaller pieces of music together into longer suites. Rather than single pieces, which would require the audience to applaud every few minutes, Morricone thought the best idea was to create a series of suites lasting from 15 to 20 minutes, which form a sort of symphony in various movements – alternating successful pieces with personal favourites. In concert, Morricone normally had 180 to 200 musicians and vocalists under his baton, performing multiple genre-crossing collections of music. Rock, symphonic and traditional indigenous instruments share the stage.[136]
On 20 September 1984 Morricone conducted the
On 9 June 2000 Morricone went to the
Morricone performed over 250 concerts as of 2001.[143] The composer started a world tour in 2001, the latter part sponsored by Giorgio Armani, with the Orchestra Roma Sinfonietta, touring London (Barbican 2001; 75th birthday Concerto, Royal Albert Hall 2003 with singer Dulce Pontes), Paris, Verona, and Tokyo. Morricone performed his classic film scores at the Gasteig in Munich in 2004.[144]
He made his North American concert debut on 3 February 2007 at Radio City Music Hall in New York City. The previous evening, Morricone had already presented at the United Nations a concert comprising some of his film themes, as well as the cantata Voci dal silenzio to welcome the new Secretary-General Ban Ki-Moon. A Los Angeles Times review bemoaned the poor acoustics and opined of Morricone: "His stick technique is adequate, but his charisma as a conductor is zero."[145]
On 22 December 2012 Morricone conducted the 85-piece Belgian orchestra "Orkest der Lage Landen" and a 100-piece choir during a two-hour concert in the Sportpaleis in Antwerp.[146]
In November 2013 Morricone began a world tour to coincide with the 50th anniversary of his film music career and performed in locations such as the
In November 2014 Morricone stated that he would resume his European tour starting from February 2015 along with Dulce Pontes.[148]
Personal life and death
On 13 October 1956, Morricone married Maria Travia (born 31 December 1932), whom he had met in 1950. Travia wrote lyrics to complement her husband's pieces. Her works include the Latin texts for The Mission. Together, they had four children: Marco (b. 1957), Alessandra (b. 1961), conductor and film composer Andrea (b. 1964) and Giovanni (b. 1966), a filmmaker who lives in New York City.[149] They remained married for 63 years until his death.
Morricone lived in Italy his entire life and never desired to live in Hollywood. He described himself as a
Morricone loved
On 6 July 2020, Morricone died at the Università Campus Bio-Medico in Rome, aged 91, as a result of injuries sustained to his femur during a fall.[156][157] Following a private funeral in the hospital's chapel, he was entombed in Cimitero Laurentino.[158]
Influence
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Ennio Morricone influenced many artists from other styles and genres, including Danger Mouse,[11] Dire Straits,[12] Muse,[13] Metallica,[14] Radiohead[16] and Hans Zimmer.[10]
- Morricone's influence extends into the realm of pop music. Hugo Montenegro had a hit with a version of the main theme from The Good, the Bad and the Ugly in both the United Kingdom and the United States. This was followed by his album of Morricone's music in 1968.
- Morricone's film music was also recorded by many artists. John Zorn recorded an album of Morricone's music, The Big Gundown, with Keith Rosenberg in the mid-1980s.[159]
- Morricone's Sergio Leone Suite of haunting melodies from the scores he composed for several of the films by radio station.
- Morricone collaborated with world music artists, such as Portuguese fado singer Dulce Pontes (in 2003 with Focus, an album praised by Paulo Coelho and where his songbook can be sampled) and virtuoso cellist Yo-Yo Ma (in 2004), who both recorded albums of Morricone classics with the Roma Sinfonietta Orchestra and Morricone himself conducting. The album Yo-Yo Ma Plays Ennio Morricone sold more than 130,000 copies in 2004.[161]
- San Francisco Symphony Orchestra also played it on Metallica's live albums S&M and S&M2.[162] The theme from A Fistful of Dollars is also used as a concert intro by The Mars Volta.[163]
- Morricone inspired the namesake of Morricone Youth, a New York band dedicated to playing music from film and television, founded by musician and radio host Devon E. Levins in 1999. In addition to composers like Lalo Schifrin and Jerry Goldsmith, the band has performed music from a large spectrum of Morricone's film career, ranging from his work in the spaghetti westerns to The Exorcist II, as well as original Morricone-inspired pieces.[164]
- The Spaghetti Western Orchestra is an Australian tribute band started in 2004.
- Radiohead drew inspiration from the recording style of Morricone for their 1997 album OK Computer.[165]
- Singer and composer Mike Patton was heavily influenced by Morricone's more experimental oeuvre[166] and in 2005 he commissioned a compilation album, Crime and Dissonance, of the lesser-known soundtracks by "E Maestro" that was released on his own Ipecac Recordings label.[167]
- Gnarls Barkley's hit single "Crazy" (2006) was musically inspired by Morricone.[168]
- Muse cites Morricone as an influence for the songs "City of Delusion", "Hoodoo", and "Knights of Cydonia" on their 2006 album Black Holes and Revelations. The band went on to perform the song "Man with a Harmonica" live played by Chris Wolstenholme, as an intro to "Knights of Cydonia".[169]
- In 2007, the tribute album We All Love Ennio Morricone was released, featuring performances by various artists, including Sarah Brightman, Andrea Bocelli, Celine Dion, Bruce Springsteen and Metallica.[170]
- Alex Turner has noted Morricone's influence on his writing, in particular on The Last Shadow Puppets album The Age of the Understatement of 2008.[171]
- "Lovers on the Sun", a song released in 2014 by French music producer David Guetta, is influenced by Morricone's western scores.[172]
- The Prodigy repurposed Morricone's score from 1966's La Resa Dei Conti (Seconda Caccia) for "The Big Gundown" on 2009's Invaders Must Die.
- Anna Calvi has cited Morricone as an influence.[173]
- Sea Girls' song "Lonely" was written on the day of Morricone's death and is influenced by his music, particularly on the film The Good, the Bad and the Ugly. It was released as a single in February 2022.[174]
- Ennio, a 156-minute documentary by Giuseppe Tornatore was released on 22 April 2022 in cinemas and on digital platforms.[175]
Morricone's dynamic sound is from the various genres he both served and was inspired from. The diversity of his sound was consistently visual.
Discography
Morricone sold well over 70 million records worldwide during his career that spanned over seven decades,[176][177] including 6.5 million albums and singles in France,[178] over three million in the United States and more than two million albums in South Korea.[179] In 1971, the composer received his first golden record (disco d'oro) for the sale of 1,000,000 records in Italy[180][181] and a "Targa d'Oro" (it) for the worldwide sales of 22 million.[182]
Selected long-time collaborations with directors
Director | Period | No. of films | Film genre(s) | Film titles |
---|---|---|---|---|
Mauro Bolognini (°1922–2001) | 1967–91 | 15 | historical/drama/documentary | including |
Alberto Negrin (1940–) | 1987–2013 | 13 | crime/historic/drama | including The Secret of the Sahara, Voyage of Terror: The Achille Lauro Affair and Il Cuore nel Pozzo |
Giuseppe Tornatore (1956–) | 1988–2016 | 13 | historical/drama/documentary/advertising campaigns | including Cinema Paradiso, The Legend of 1900, Malèna, Baaria and The Best Offer |
Giuliano Montaldo (1930–) | 1967–2008 | 12 | crime/historic/drama | including Tempo di uccidere
|
Luciano Salce (1922–1989) | 1959–66 | 11 | comedy/drama/historical | including Come imparai ad amare le donne
|
Aldo Lado (1934–) | 1971–81 | 9 | mystery/thriller | including L'umanoide
|
Roberto Faenza (1943–) | 1968–95 | 8 | crime/horror/historical | including Escalation, Si salvi chi vuole, Copkiller and Sostiene Pereira |
Sergio Leone (1929–1989) | 1964–84 | 8 | western/crime | including the Dollars Trilogy, Once Upon a Time in the West, Duck, You Sucker!, My Name Is Nobody and Once Upon a Time in America |
Sergio Corbucci (1927–1990) | 1966–72 | 7 | western/comedy | including Navajo Joe, The Hellbenders, The Mercenary, The Great Silence, Compañeros and Sonny and Jed |
Alberto De Martino (1929–2015) | 1966–72 | 7 | crime/war/horror | including Dirty Heroes, O.K. Connery and Holocaust 2000 |
Pier Paolo Pasolini (1922–1975) | 1965–1975 | 7 | mystery/historical | including |
Elio Petri (1929–1982) | 1968–79 | 7 | crime/horror/historical | including A Quiet Place in the Country, Investigation of a Citizen Above Suspicion, The Working Class Goes to Heaven and Todo modo |
Dario Argento (1940–) | 1968–98 | 6 | horror/gangster/thriller | including The Bird with the Crystal Plumage, The Cat o' Nine Tails, Four Flies on Grey Velvet, The Stendhal Syndrome and The Phantom of the Opera |
Carlo Lizzani (1922–2013) | 1965–76 | 6 | comedy/crime/drama | including Svegliati e uccidi, The Hills Run Red and San Babila-8 P.M.
|
Sergio Sollima (1921–2015) | 1966–73 | 6 | western/crime/thriller | including Città violenta and Revolver
|
Henri Verneuil (1920–2002) | 1968–1979 | 6 | thriller/crime | Peur sur la ville
|
Giulio Petroni (1917–2010) | 1968–79 | 6 | western/comedy | including Tepepa, A Sky Full of Stars for a Roof and Death Rides a Horse |
Bernardo Bertolucci (1940–2018) | 1964–81 | 5 | drama/historical | including Before the Revolution, Partner, Novecento and Tragedy of a Ridiculous Man |
Pasquale Festa Campanile (1927–1986) | 1967–80 | 5 | comedy/crime | including The Girl and the General, When Women Had Tails, Hitch-Hike and Il ladrone |
Damiano Damiani (1922–2013) | 1960–75 | 5 | drama/thriller/western | including The Most Beautiful Wife, The Case Is Closed, Forget It and A Genius, Two Partners and a Dupe |
Quentin Tarantino (1963–) | 2001–2015 | 6 | action/thriller/western | |
Duccio Tessari (1926–1994) | 1965–90 | 5 | western/action/adventure | including A Pistol for Ringo and The Return of Ringo |
Awards and honors
Morricone received his first Academy Award nomination in 1979 for the score to Days of Heaven (Terrence Malick, 1978).[86] He received his second Oscar nomination for The Mission.[86] He also received Oscar nominations for his scores to The Untouchables (1987), Bugsy (1991), Malèna (2000), and The Hateful Eight (2016).[86] In February 2016, Morricone won his first competitive Academy Award for his score to The Hateful Eight.[184] Morricone and Alex North are the only composers to receive the Academy Honorary Award since its introduction in 1928.[185] He received the award in February 2007, "for his magnificent and multifaceted contributions to the art of film music."[186]
In 2005, four film scores by Ennio Morricone were nominated by the
In 1971, he received a "
General sources
- Morricone, Ennio; De Rosa, Alessandro. Ennio Morricone: In His Own Words. Ennio Morricone in conversation with Alessandro De Rosa. Translated from the Italian by M. Corbella. Oxford University Press (2019–2020). ISBN 978-0-19-068103-6.
- Horace, B. Music from the Movies, film music journal double issue 45/46, 2005: ISSN 0967-8131.
- Miceli, Sergio. Morricone, la musica, il cinema. Milan: Mucchi/Ricordi, 1994: ISBN 978-88-7592-398-3.
- Miceli, Sergio. "Morricone, Ennio". The New Grove Dictionary of Music and Musicians, 2nd edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
- Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 3. Dal 1960 al 1969. Gremese, 1993: ISBN 978-88-7605-593-5.
- Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 4. Dal 1970 al 1979* A/L. Gremese, 1996: ISBN 978-88-7605-935-3.
- Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 4. Dal 1970 al 1979** M/Z. Gremese, 1996: ISBN 978-88-7605-969-8.
- Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 5. Dal 1980 al 1989* A/L. Gremese, 2000: ISBN 978-88-7742-423-5.
- Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 5. Dal 1980 al 1989** M/Z. Gremese, 2000: ISBN 978-88-7742-429-7.
Notes
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It took place in 2000 in Turin with 27 players and included Morricone's son Andrea and Paolo Fresco, CEO of Fiat at the time. Morricone was the last player standing in that simul, and Spassky had to concede the half point.
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Further reading
- ISBN 978-0-670-02551-0, pp. 59–62.
- Morricone, Ennio; De Rosa, Alessandro. "Ennio Morricone: In His Own Words. Ennio Morricone in conversation with Alessandro De Rosa". Translated from the Italian by M. Corbella. Oxford University Press (2019–2020). ISBN 978-0-19-068103-6
- Lhassa, Anne, and Jean Lhassa: Ennio Morricone: biographie. Les Planches. Lausanne: Favre; [Paris]: [diff. Inter-forum], 1989. ISBN 978-2-8289-0418-0.
- Sorbo, Lorenzo: 'The Dramatic Functions of Italian Spaghetti Western Soundtracks: A Comparison between Ennio Morricone and Francesco De Masi' In: Stoppe, Sebastian (2014). Film in Concert. Film Scores and their Relation to Classical Concert Music. Glücksstadt, Germany: VWH Verlag. pp. 161–174. ISBN 978-3-86488-060-5.
- Wagner, Thorsten. "Improvisation als 'weiteste Ausdehnung des Begriffs der aleatorischen Musik': Franco Evangelisti und die Improvisationsgruppe Nuova Consonanza". In ... hin zu einer neuen Welt: Notate zu Franco Evangelisti, edited by Harald Muenz.48–60, 2002. Saarbrücken: Pfau-Verlag. ISBN 978-3-89727-177-7.
- Webb, Michael D. Italian 20th Century Music: The Quest for Modernity. London: Kahn & Averill. ISBN 978-1-871082-89-0.
- Wenguang Han: Ennio Morricone Fans Handbook Archived 26 December 2019 at the ISBN 978-988-16794-2-0
- Sorce Keller, Marcello. "The Morricone Paradox: A Film Music Genius Who Missed Writing Symphonies". Asian-European Music Research Journal (AEMR). 6 (2020): 111–113.
External links
- Official website
- Ennio Morricone at IMDb
- Ennio Morricone discography at Discogs
- Ennio Morricone Myspace
- Tête-à-Tête: Ennio Morricone at the Wayback Machine (archived 27 December 2010)
- Morricone Fans at the Wayback Machine (archived 30 July 2013)
- Streaming audio of Morricone's "The Man with the Harmonica", from his soundtrack to Once upon a Time in the West