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Originally released on a long playing record in 1972, IMPUTAZIONE DI OMICIDIO PER UNO STUDENTE by Italian Maestro Ennio Morricone, is probably one of the few scores that does not get mentioned a great deal from this period of the composers career, but there again even now we are being constantly surprised by the discovery of soundtracks by Morricone that still have not been issued on any format whatsoever, The album was issued by CGD records which was itself a rather obscure label, and the LP recording is something of a rarity nowadays. The Compact disc re-issue was released in 1998 under the SCREEN TRAX banner, which was an Italian recording label that was active towards the end of the 1990,s and into the early 200,s, the label which had connections with GDM music was responsible for re-issuing a number of classic Italian soundtracks and also a handful of what was advertised as definitive editions of soundtracks. The movie starred Massimo Ranieri and Martin Balsam, and was directed by Mauro Bolognini who was responsible bringing to the screen other movies such as, METELLO, THE WITCHES (Senso Civico-section), HE AND SHE and THE LADY OF THE CAMELIAS. All of which contained music by Morricone. The score which Morricone provided for the movie was somewhat typical of the music that he was writing during this period, by this I mean that it was like all of his other assignments exceptionally good and contained a fresh and original sound with many of the now common place musical trademarks, quirks of composition and orchestration that we now associate readily with the Maestro. The work contains a strong and resounding central theme on which the composer builds the remainder of his score upon, this core theme can be heard in varying arrangements throughout the work the composer giving us a stunning and highly entertaining orchestral version mid way through the score and we are even treated to a particularly catchy vocal version of the piece which is performed by the films main actor Massimo Ranieri, UN PO PER GIORNO (A LITLE DAY BY DAY) is an infectious and haunting ditty with Morricone enlisting the distinct vocalising of Il Cantori Moderni to add depth and support to the main vocal performance, that is further enhanced and supported by guitar, percussion and striking string punctuation that lifts and drives the piece forward. This theme as I have said is the foundation of the score and the composer ushers in some dark and tense musical passages throughout the soundtrack to add atmosphere and a touch of drama to the proceedings. In many ways it is a brooding and at times surprising score, with Morricone utilizing electronic sounds alongside tense and anxious sounding strings to create an atmosphere that is vexing and at times foreboding.

 

English: Ennio Morricone at the Cannes film fe...

English: Ennio Morricone at the Cannes film festival Français : Ennio Morricone au festival de Cannes (Photo credit: Wikipedia)

The work also contains another vocal, SCAPPA FRATELLO SCAPPA (RUN BROTHER RUN); this is a protest song which is of the same persuasion of Morricone’s protest vocals from films such as SACCO AND VANZETTI and GRAZIE ZIA, maybe not in musical style but certainly in its opinion. The vocals here are provided by Maria Monti. Track number thirteen, TRISTE VISITA I think has a sound that is not dissimilar to Morricone’s opening theme for HORNETS NEST, a melancholy sounding wind instrument opens the cue and is underlined by low and subdued strings with percussion acting as a light punctuation, the central theme again raises its head this being a more emotive and sorrowful version of the composition. The compact disc is packaged well and has brief liner notes; this is probably one Morricone score that would benefit from another re-issue, maybe with extra music if it is available. It certainly fits in the classic Morricone sound category.

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