Released on Kronos Records July 2016.


michele strogoff


Composer, Scholar and Monsignor Marco Frisina was born in Rome in 1954, when he reached the age of 11 he decided to teach himself how to read and write music. It was also at this time that the young Frisina began to play the piano again this was something that he taught himself to do. He began then to study music at the Conservatory of Saint Cecilia where many other notable Maestros from the world of film music in Italy also studied. After he graduated from the Conservatory he also began to take up theological studies at the Pontifical Gregorian University and then earned a certificate in Sacred Scripture from the Pontifical Biblical Institute and was ordained as a Priest in the April of 1982. His musical talents are not restricted to films and television, he has written numerous pieces for the Vatican which include, Operas, Songs, Masses, Hymns, Oratorios and recordings which are dedicated to Saints and Pontiffs. Frisina has also throughout his career in music collaborated with a number of high profile artists and composers the most prominent being Maestro Ennio Morricone on a handful of scores for television and cinema.


The story of MICHAEL STROGOFF is a popular one and also is a tale that has been committed to celluloid on more than 30 occasions either as a television project, a silent movie or as a feature film, the first of these was a silent version produced in 1914 and was made in The United States. Based on the novel from 1876 by Jules Verne, it is a tale of high adventure, filled with action, drama and romance. The book when first published was hailed as the best story that Verne had written. The musical score for this production is every bit as adventurous, exciting, fast paced and dramatic as the storyline itself. The soundtrack being filled to overflowing with haunting melodies, fearsome action cues and brimming with affecting leitmotifs that accompany and introduce the main characters within the story. Marco Frisina’s score is an epic sounding work, which is grandiose and robust but at the same time has the ability to become intimate and melancholy possessing a fragility that is attractive, emotive and powerful. The Maestro providing the production with a lush and imposing soundtrack that at certain points within the proceedings evokes the Style and the atmosphere of the vintage movie soundtracks of Hollywood. The opening theme for example is a rousing, strident and proud sounding piece, written for brass and strings that are underlined by the introduction of rumbling percussion which together set the scene perfectly for much of what is to follow. Frisina’s theme for the Tartars is also impressive, driving strings that are embellished by percussive elements and timpani and driven on harder by the utilization of wild brass and flyaway woodwind that are punctuated by crashing cymbals, the composer creating an urgent and unmerciful sounding piece. Then we have the theme for Strogoff’s wife NADIA which is a text book Frisina sounding composition, a delicate and beautifully written melody is carried by the string section and underlined and enhanced by lilting woodwind and harp and mid way through the piece there is a stunning guitar solo that picks out the core theme, the cue then changes mood and becomes less melodious taking on a more sinister and threatening persona which is purveyed by sinewy strings and ominous and apprehensive woodwind. Frisina’s soundtrack is somewhat different to what we have become accustomed to from the composer, yes there are a number of striking thematic moments present but it is has to it a darkness and a greater sense of foreboding in places and an underlying ambiance that can be likened to scores from Eastern Europe. The composer utilizes the Balalaika at times which reminds one of the sound that is achieved by Maurice Jarre in Dr Zhivago. There are so many themes and addictive melodious passages within the work it is hard to take them all in on first hearing the score. The composer utilizes a number of solo instruments throughout the work to bring forth a richness and a lavishly emotive sound which invades the soul and lingers in the subconscious. This is demonstrated perfectly in track number 6, CANTO TZIGANO, solo viola is accompanied by woodwind and then gradually given support by the full string section treating us to a mesmerizing and stunning piece. Track number 8, NEL CUORE DI MICHELE is also a standout cue, Frisina again turning to the solo guitar which we heard briefly within NADIA,S THEME, this time however it is accompanied by highly romantic strings with the support of subdued percussion. The music has up until now only been available digitally as a download, this edition released by Kronos records being the first actual compact disc release of the score.


Released in December 1999, MICHELE STROGOFF-IL CORRIERE DELLO ZAR (MICHAEL STROGOFF,MICHEL STROGOFF) was an Italian/German and French co-production made for television that had a running time of just over three hours but was edited down to two hours and twenty minutes after its initial release. Directed by Fabrizio Costa it starred Paolo Seganti in the title role who was supported by Lea Bosco as Nadia and Hardy Kruger jnr as Ivan Ogareff.

John Mansell. Movie Music International/IFMCA.



I understand that your fascination with film music started at an early age and it was the music of James Horner that was the main reason that you began to become interested in the film score and also the orchestra?

holly amber church

Yes. It was James Horner’s score for “An American Tail” that first caught my interest in film music. I loved the movie as a child and my dad used to come home with records sometimes (often film soundtracks) and I was so excited the day he brought home the soundtrack album for “An American Tail”. I listened to it over and over and I remember one day having a sort of epiphany in realizing that all those beautiful sounds I was hearing was a conglomerate of a bunch of individuals playing together in an orchestra. It kind of blew my mind. Not long after “An American Tail” came “The Land Before Time” which was equally wonderful and then James Horner was officially my hero. I’m pretty sure I bought almost every single album of his growing up. He was it for me.

an american tail

Were any of your family musical in any way?

Not really actually now that I think about it. My grandmother on my father’s side was always very encouraging of the arts though. When we would go to visit her and my grandpa, she always had sketchbooks and markers for us and I remember her giving us tapes that told the history of classical composers and introduced some of their work.

You wrote your first orchestral piece at the age of sixteen which was performed by an orchestra was it at this time that you decided that you wanted to become a composer of film music?

I’m not one hundred percent sure when the desire to be a film composer actually struck. I know I loved film music from an early age. I found a little booklet that I had filled out the first day of school in I think the second grade and it asked what my favorite kind of music was and I wrote “movie background music,” so in a way I feel like that dream was there for a very long time whether I fully realized it or not. Definitely though, hearing my first orchestral work played live at the age of 16 was a major turning point. You just can’t beat working really hard on something and then hearing it played live.


What musical education did you receive and was there any particular instrument or area of music that you focused upon during your studies?

My mom started my sister and I in piano lessons probably when we were about 7 or 8 years old (I have a twin sister) so the piano is and was always my main instrument of study. We had a few different piano teachers growing up and I continued to take piano lessons when I attended Pepperdine University for my undergraduate degree. My focus there shifted to music theory and composition though and I quickly realized how much time composing can take up so my piano studies became less and less as I became more immersed in composing. I then went on to USC for their Scoring for Motion Pictures and Television program, which was really amazing.

You have worked on a number of Horror movies, do you think it is harder to write for this genre as opposed to say romance or comedy?


I absolutely love working on horror movies. Horror and sci-fi are probably my two favorite genres to write for because they are a ton of fun! We’re suspending reality in those types of films which can make for a much vaster musical palette and the opportunity to do all kinds of strange things, which I really enjoy. Plus you get to write some great drama, action and suspense in a horror or sci-fi film. Comedies can be really fun as well. Romances are probably the toughest for me as I’ve never really been into those types of movies. I’m definitely more of a horror girl.

One of your first scoring assignments was for BILL THE INTERN which was produced by Will Hess, this was in 2003. How did you become involved on this project?


BILL THE INTERN was actually the first feature film I scored so it’s a historical one. I was working on a short film while at USC and we were recording the score on what was then called the Spielberg Scoring Stage there. In the middle of recording, some guy walks in wearing camoflauge cargo pants, a fishing vest and a tool belt. He stands there listening for a while and then during a break he approaches me and tells me he’s making a feature film and would I want to write the music for it. As odd as his outfit was, I said sure! This was my first introduction to Will Hess. I am so glad I said yes to his film because we are still really close friends after all these years and have worked on many films together with many more to come! He’s practically like family to me at this point and he even introduced me to my husband. That’s one thing about this business that I think we take for granted sometimes is the people that we meet. I’ve been so lucky to work with so many talented film makers over the years who have truly become great friends.

One of most recent assignments is for the Padraig Reynolds horror movie WORRY DOLLS, you worked together before on RITES OF SPRING, does the film maker have set ideas when it comes to the music or are you given free rein to create the score?


Padraig is one of my absolute favorite directors to work with because he always has such a clear vision on what he wants for the score. We normally start our conversations early on as he will send me the script to read and even music ideas he is thinking of during the process. Once we get to the spotting session he knows exactly what he wants in the film and I write notes as fast as I can! We work really well together as we are always on the same page musically. We bounce ideas off each other throughout the process and he will come over to the studio to listen and sometimes we end up workshopping one cue for hours to really hone in and get it right. His vision and his musical sensibilities are fantastic. I’ve had times where I’m stuck on a scene and not sure what to do and so I’ll give him a call and get ideas from him.

The soundtrack to WORRY DOLLS has just been released on Movie Score Media, it is an exceptional score, it has many sides to it contemporary and also has a feel of the old style Horror soundtrack was this something that you set out to do when you began to work on the movie?

Thank you so much. That is very kind of you to say. I think that mix of contemporary and old style horror kind of happened with what we both like musically, Padraig is a big fan of the horror films from the 70s and 80s so he always likes a bit of a throwback feel.

What size orchestra did you use for the score and how much time were you given to write and record the music?


We had a 31 piece string section for this and they were 31 strong! They made a huge difference on this score and really brought it to life. The AFM musicians here in Los Angeles are just amazing! I feel like I had somewhere between 6-8 weeks to write and record everything.

Staying with WORRY DOLLS how much music did you write for the movie and did most of the score make it onto the MSM release and were you involved in the compilation of the cues for the release?

I feel like I wrote somewhere around 80 minutes of music for the movie and I feel like most of our score did make it onto the MSM release. I was involved in the compilation of the cues a little bit but most of that work was done by Mikael Carlsson of Movie Score Media who produced the soundtrack album. He really has a great ear for putting cues together and coming up with an album flow.

You utilised a childlike voice on the score for WORRY DOLLS which is certainly chilling, who was the vocalist?

That vocalist was actually my niece, Emma May. Padraig said he wanted a little girl to sing the song at the beginning of the film (Padraig wrote that tune by the way – he used to be in a band called The Nukes for those of you that don’t know) and I immediately thought of my niece. I had seen her earlier that year and she sang some songs that she had written to me so that was how I knew she could sing and she was about the right age of voice for this too. She was really excited to record the vocals for this. She even practiced singing to the creepiest doll she had.


You conduct as well as compose, do you conduct all of your scores for film or do you at times pass the baton to someone else so you can monitor the scoring process?

To date I have conducted all of my own scores, but I definitely wouldn’t mind passing the baton off to someone else one of these days so I can sit in the booth and really listen.


James Horner was a big influence upon you, are there any other composers of film music or indeed any type of music that you would say influenced you in the way you write or indeed in the way that you place the music in a movie?

James Horner was hands down the biggest influence on me and the way I write to picture. Obviously, as I got older I began discovering so many of the other great composers out there so I am sure they have all had their influence on me as well. I’m also a huge musical theater fan so in addition to film scores, I grew up listening to a lot of musicals. Les Miserables and Miss Saigon were listened to a lot as well as all the great music from the Disney films during that time. Musicals may not be film scores, but they are still a way of telling a story through music and there is just nothing more powerful than that.


I understand that you are at the moment working on RED ARMY RISING which is directed by Will Hess who you have collaborated with many times, at what stage of the proceedings do you like to become involved on a project, do you at times like to see a script or is it better for you if you come in at the rough cut stage so that you can spot the movie with the director or producer?

RED ARMY RISING is still in pre-production at the moment but we have had a few conversations (and laughs) about it so far. My next project with Will Hess will be his documentary about mardis gras called KING CAKE: A BIG EASY STORY, which he is currently editing. I tend to like to get involved in the project as early as possible. I usually like to read the script so I can start thinking about things. I may not even write a note until after the picture is locked and we’ve had a spotting session, but knowing the story early on let’s that creative thought process begin.

You have worked on a number of shorts, ie: THE LOST SOUL which has a running time of 11 minutes, THEY WATCH which has a duration of 13 minutes etc. Is it difficult for a composer to develop a score and establish themes on movies with such short running times as opposed to working on a full length feature film ?


I do feel like I can definitely get into a feature more as we spend so much more time on them and there is so much more screen time to really develop themes and the sound of that film. I can for sure develop themes and ideas for shorts though if they will lend themselves to that sort of thing. We have some strong themes in THEY WATCH and although it does have a short running time, it does a great job of telling its story and exploring a few of its central themes.

Do you favour any recording studio or orchestra when you are recording your film scores and when writing do you have in mind any particular soloists?

I love working in Los Angeles with the AFM musicians. It’s hard to beat that although recording at Abbey Road with the amazing musicians in London would be a dream one day. As far as studios go, I was really impressed with The Bridge Recording Studio when we recorded WORRY DOLLS there. I also love the Newman Stage at Fox and the Eastwood Stage at Warner Bros.


Do you have a set way of working or a routine that you like to keep to, by this I mean when writing for a film do you start with the main theme and work through to the end titles or maybe work on smaller cues first and then start to develop the central themes?

Yes – I normally like to spend time writing the main themes I know I will need for the film first. I spend time developing those and finding the themes that are just right for each film. Once I have those established and have sort of come up with the sound and musical palette for the film, then I actually like to just start writing chronologically (maybe not the opening titles though until I’ve gone through the whole film). I feel like I keep discovering new things in the music as the film develops in its story.


Do you work on all your orchestrations for your film scores, or at times is this just not possible?

So far I have done all of my own orchestrations for my scores. I do think it would be great to collaborate with another orchestrator one day though.

Have you a particular favourite score of your own or by another composer?

If I had to pick my absolute favorite score of all time, it would probably be “E.T.” by John Williams. One of my other top favorites is “Field of Dreams” by James Horner.

In 2012 you worked on NINAHS DOWRY this was a collaboration between yourself and two other composers, Julia Newman and Cody Westheimer how did you become involved on the project?

I have known Cody and Julia since my days at USC. We met there and have been really close friends ever since. NINAH’S DOWRY was Cody’s film and he brought in Julia and I to work with him. The three of us work great together and had a really fun time collaborating on this film.


You have also written the music for animated shorts, does the scoring process differ at all when working on animated films?

I think most composers would probably tell you that animation is one of the toughest things to score and I agree with them. There’s a lot of nuances and little fast changing moments to hit in animation, but boy is it fun! I really enjoy working on animated films. I feel that despite different styles in films, the one thing they all have in common is that you are there to help tell their story through your music – no matter what the genre is.

What is next for you?

I am currently working on two feature films (an action thriller and a horror) as well as a TV pilot. I’m also writing a stage musical (a comedy) with my sister. I am definitely keeping myself busy with lots of different projects these days but it keeps things interesting!







Well I suppose it was inevitable, in the movie INDEPENDENCE DAY we whooped E.T,S ass good and proper thanks to Will Smith with a little help from Jeff Goldblum and company. So it just had to happen those cute looking but nasty sadistic human race annihilating aliens decided to have another go at taking over planet earth, do they this time come in peace, no I don’t think so. So once again here we go it’s a battle to save the earth the human race and of course THE AMERICAN WAY. I personally think that the aliens thought you know what we don’t really want this planet its shot anyway but these stupid people who inhabit it are really making a right pigs ear of things and we don’t particularly like them so why not? Lets just take the planet and obliterate these disagreeable and argumentative beings whilst we are at it. This time however the nations of the world have got together and using technology recovered from the first invasion attempt they have built a huge defensive program which is designed to protect the earth from any invasion attempted by extraterrestrials‘, Will it work or have the Aliens become even more advance in the two decades that have past since their last attempt, who knows I guess we will have to pay our money and go see the movie. The original movie contained a wonderfully theme filled score by British composer David Arnold and I am glad to say that some of Mr Arnolds stirring theme from the original film have been incorporated into the new score by composers Thomas Wander and Harald Kloser who have collaborated on a number of “apocalyptic” movies including THE DAY AFTER TOMORROW and 2012, and have also scored movies as solo composers. They do have a reputation for producing big scores which I suppose is only right as they have worked on numerous big box office success’s. What I like about this composing duo is that they deliver the goods in the action department and produced some pulsating and powerful works performed by symphony orchestras that are bolstered and supported by the use of synthetics, but they also have a knack of creating some strong and also vibrant and melodic thematic material which in movies such as INDEPENDENCE DAY-RESURGENCE works a treat and the composers always seem to get the balance correct, they infuse the right amount of melancholy, the exact amount of drama and the ever present atmosphere of dread and then there is the underlying sense of patriotism and a sound that just oozes GOD BLESS AMERICA because we all know its going to turn out ok and of course the United States will save the day again, thank God. I actually really enjoyed listening to this score, I never once reached for the fast forward or the pause or even the deadly eject buttons.

It is symphonic with the majority of the cues being handed too the strings and brass that are supported and enhanced by driving percussive elements that at times are further bolstered and given a more authoritative stature by the inclusion of choir, together these elements keep up a relentless pace and also give the work a dominance and over ally commanding mood. There are very few quieter moments within the score and if you do happen upon one it is an exhilarating and rewarding listen with the composers putting to good use the string section which at times in embellished with woods giving it a wholesome or lavishly romantic feel. I loved David Arnolds INDEPENDENCE DAY and I also love this score as well, they are written in a very similar style, by this I mean robust, brash at times and filled with gripping, expansive musical passages and motifs that grab the listeners attention instantly and radiate excitement, tension and action. It is a score that you as a soundtrack collector should own, high octane, forceful and unrelenting.



There have been a number of soundtracks to horror movies released of late, now the score for the horror movie or the horror genre in general was up until a few years ago a taboo subject or at least the release of music from horror movies was, unless of course it was by the likes of Jerry Goldsmith, John Williams and a handful of other A lister composers. It is recording labels such as Movie Score Media and its sister company Scream works that we collectors have to thank for dipping into the rich supply of horror scores that are written for film. It is down to these lovely people and other labels such as Howling Wolf etc that we can reap the benefits and add to our collections scores that probably ordinarily would not have seen the light of day. WORRY DOLLS is one such soundtrack, available on Scream Works this is a highly atmospheric and mysterious sounding work, that has the ability to send shudders up any listeners spine when played during the daylight hours let alone when it is aired at night. Composer Holly Amber Church has been working steadily scoring shorts, commercials and feature films creating a highly polished and deliciously attractive musical canon. Her music has added much to the productions that she has worked upon and one of her latest creations the score for WORRY DOLLS is no exception, this is a soundtrack that contains a plethora of sounds both electronic and symphonic, the composer fusing the two mediums seamlessly into a work that oozes not only foreboding and apprehension but is filled with sophisticated and distorted yet harmonious passages that not only work within the context of the movie but are entertaining in a perverse sort of way when played away from the images. This is one of those scores that although predominantly atonal or un-melodic can at the same time be deemed as an enjoyable and interesting listening experience. In fact there are a number of moments albeit short lived that do contain some haunting thematic material and the composers use of a childlike vocal within the score has a duel effect as in it seems safe because it is a child’s voice we hear but there is an underlying atmosphere that is devilish or impish or maybe just down right evil and disconcerting. The work contains driving strings at certain points that bring to the work a vigorous and forceful persona these are at times supported and punctuated by somewhat chaotic percussive elements and these too are further enhanced by the use of sinewy string stabs and growling brass effects, then there are a number of interludes that are occupied by a lilting almost faraway sounding piano performance which seems to echo or twinkle in the distance which is given an even more icy effect when combined with cello and strings that act as a background giving it an uneasy richness.

holly amber church

Strings come into their own on track number nine, THE INTERROGATION which is a bittersweet adagio of sorts laced with intricate sounding piano and ends with dark low strings creeping into the equation. The composer also pulls out the scare the hell out of stops in track number ten, WHERE IS SHE, again strings melded with electronics are combined to create a fear filled and taught sounding piece that certainly gets the attention of the listener. This can also be said for track number twelve LAWNMOWER LACERATIONS, which is filled with strings being plucked struck and played. Track number thirteen SOMETHINGS WRONG WITH TODD is a creepy and unsettling piece strings again take centre stage but this time are overpowered in the first portion of the cue by electronic sounds that I have to say certainly grate on ones nerves and have the affect of alerting you to something malevolent and spiteful, driving strings are also present which push this composition along at a fairly brisk pace giving it more power and impact. Yes this is a horror score, yes it is atonal and contains synthetic sounds but it also contains some interesting and quite stunning thematic material. Maybe it is wrong to say that Holly Amber Church employs a style similar to etc etc, but in my opinion she does have a style and achieves a sound somewhat in the same vein as composer, musician and synthesist Ed Tomney when he scored movies such as DRACULA RISING back in 1993 and WHERE EVIL LIES in 1995. There is a virulent and potent ambience to this soundtrack and it is one that is alluring in a strange sort of way. It is a modern horror movie which has a score that is contemporary and contains elements and musical affiliations to the horrors of bygone days. I am confident it will become a talking point amongst collectors of movie scores in the coming weeks.



To say that composer Ennio Morricone is talented and innovative is something of an understatement and when writing about him it is often difficult to find the words to describe his creativity. By the time Ennio Morricone came to score RIPLEYS GAME in 2002 the Maestro was a seasoned film music composer who had already written hundreds of scores for varying genres of motion pictures. The movie was based on the third book in trilogy of novels entitled RIPLIAD written by Patricia Highsmith. Set in France, Germany and Italy, RIPLEYS GAME is a classy, smooth and sophisticated thriller which focuses upon art connoisseur and harpsichord expert Tom Ripley who also happens to be a master of improvisational homicide and a con artist. Ripley is portrayed convincingly by actor John Malkovich who is supported ably by fellow actors Dougray Scott and Ray Winstone. Ripley, with the help of British gangster Reeves (Winstone) becomes involved in an art scam in Berlin. Reeves is told by Ripley to stay outside whilst he goes into a building to do a deal with a client but things do not go to plan and Ripley resorts to killing this potential customer. He then gives the money that he has got from the now dead customer to Reeves, but at the same time keeps the piece of art work for himself telling Reeves that their partnership is dissolved, which is something that Reeves is not too pleased about. The story then skips three years forward and we see Ripley living a wealthy, privileged lifestyle in Italy living in a luxuriously opulent villa with his beautiful wife Luisa who is a harpsichordist. Ripley and his wife are invited to a party which they are enjoying until Ripley overhears the host Johnathan Trevanny (Scott) making remarks about him and his taste in art and also making references to Ripley’s somewhat shady past, the furious Ripley briefly confronts Trevanny but leaves the party with the matter unresolved. It is at this point the disagreeable Reeves character returns to the storyline asking Ripley for help in dispatching a rival. Ripley recommends that they use an amateur for the hit telling Reeves to offer it to Trevanny, Ripley knowing that Trevanny is suffering from leukaemia and needs money for his wife and family to keep them when he dies. At first Trevanny is surprised and horrified at the offer and turns down Reeves proposal, but then begins to think of the money and agrees to carry out the hit.

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Trevanny assumes that this will be the last time he has to have anything to do with the unsavoury Reeves but the gangster has other ideas and blackmails Trevanny into carrying out another assassination, this time however things do not go to plan and Trevanny looses his composure and is nearly killed himself until Ripley comes to his aid and helps to dispatch three mobsters on a train. Trevanny then forms an uneasy friendship with Ripley and returns to his wife and son telling his wife that the money has come from a hospice where he has undergone experimental treatment. The three murdered mobsters associates decide to pay a visit to Italy and attack Ripleys villa. They kill Reeves and throw his body in the boot of their car. However Ripley has anticipated their moves and has set traps for them and picks all of them off with the help of Trevanny who seems to have gotten a taste for killing. Trevanny returns to his home to find that the mobsters have sent henchmen to kidnap his wife and are holding her captive, but Ripley once again has managed to stay one step ahead of the game and after taking Trevanny home spots the mobsters cars in the undergrowth, he doubles back and in the nick of time manages to kill the henchman. One of the mobsters is only wounded and is about to shoot Ripley when Trevanny throws himself in front of the bullet and is fatally wounded.

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The movie is a captivating one and has an intelligent and consuming storyline, directed by filmmaker and screenwriter Liliana Cavani ( GALILEO,THE YEAR OF THE CANNIBALS, THE NIGHT PORTER, LA PELLE etc) it is a must see motion picture and stands up well to the test of time and one which I believe has matured and grown even more interesting with the passing of the years rivalling many of the more recent thrillers that have been released. The musical score incorporates harpsichord performances at certain points within its duration, the composer utilising the instrument to accompany the films central figure, it is also a score that is filled with drama and tension, the Maestro masterfully building the atmosphere throughout via his use of strings, brass, electric guitar, woodwind, piano, percussive elements and aforementioned harpsichord which are subtly enhanced by a sprinkling of electronic effects that fuse seamlessly with the conventional instruments of the orchestra to create a score that oozes tension and apprehension but also has at its core highly thematic and melodic material. As with any soundtrack penned by Morricone one is aware almost immediately that we are listening to the supremely innovative work of Il Maestro, a Master of his craft. There is that sound, that style and that individuality present that just says Ennio Morricone.

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The score features Morricone’s regular collaborator/performer Gilda Butta on piano and harpsichord, with the composer writing extensively for saxophone and also flicorno performed by Gianni Oddi and Cicci Santucci respectively, both instruments feature throughout the soundtrack and make lasting impressions upon the listener, creating either a mood of melancholy or indeed an apprehensive and threatening atmosphere. One of the highlights of the score is the music for the murders on the train which is split into two cues on the album, PRIMO TRENO AND SECONDO TRENO both cues establish almost straight away an air and atmosphere that is filled with tension and suspense, we hear dissonant brass that is punctuated and paced by an ominous sounding rhythmic background which at times evokes the sound that the composer realised on certain cues within his score for THE UNTOUCHABLES. The opening cue on the compact disc “IN CONCERTO” is actually the last piece of music that we hear in the movie, the harpsichord opens the proceedings and establishes the central melody of the composition, flicorno is added to the mix along with support from the string section which enhances and adds depth and further substance to the piece, the composition builds slowly but steadily as the composer fuses a jazz orientated style with that of baroque. As the piece gathers momentum the composer adds slightly harder sounding and imposing brass and introduces an electric guitar which although subdued adds much to the dramatic content of the movie and creates greater tension within the composition.


With harpsichord all the time being the main stay of the cue forming its foundation and then becoming its core. There are a few pieces within the score that at times sound as if they could be improvised as in COLLAGE DE RIPLEY which has saxophone and flicorno in a duet performance underlined by short and harsh sounding violin strokes which are further supported by submissive percussion. There have been numerous re-issues of scores written by Ennio Morricone in recent years, this I have to say is one of the most welcome and worthwhile.A KRONOS RECORDS release. LTD EDITION.