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I sometimes get frustrated with film music collectors saying there is no new up and coming talent in movie music, many seem to see a new name and dismiss them before even listening to their music, Composer Jermaine Stegall, is in my opinion going to be a name that we will be seeing a lot of on credits for big movies in the not too distant future, he is talented, inventive and also most certainly able to create scores that range from intimate and electronic to full on driving lush and epic sounding symphonic. Which is displayed in one of his most recent projects PROXIMITY. The project has taken four years to come to fruition,  and whilst watching the movie, one can hear and also see just how a film score should work, it supports enhances and punctuates, but also it is a soundtrack that one can listen to without watching the film. My thanks to the composer for agreeing to speak to Movie Music International. JM. ©2020.



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What would you say is the purpose of music in film?


For me, I would say the purpose is to help tell the story. It’s to become the musical voice, and soul of the film.  Melodic, harmonic, however done, turn into another actor that is on the same page is the entire vision of the story and spirit of the film.




In 2011 you worked on GREETINGS TO THE DEVIL, which was a film produced in Colombia, how did you become involved on this project?

I met the director, Juan Orozco online and we started talking.  He has a great sense of visual storytelling and I felt like he would be someone that would create an amazing canvas for music with visuals and I was totally right!  After the film happened, he even helped finance an opportunity to do a concert of live film music from the film in Colombia at the Museum of Modern Art in Medellín, Colombia in 2011.  An amazing end to the journey which happened I believe the opening weekend of the film.


OIP (18)


I noticed you are credited with providing additional music on some TV series such as, SUPERNATURAL, LIV AND MADDIE, SUPERGIRL and STRETCH ARMSTRONG, when it says additional music is this the music that the producers decide that they need after the main score is done, or is it cues that they think will complement the series further and the composer of the main score maybe is not available?

Yes, those are basically cases where I was asked to supplement the composer’s original score and further the vision as well as be an extra set of hands creatively.


Is your family background a musical one, by this I mean are any of your family musical?

My mother did her fair share of singing, but my father was a bass player in the 70s and played in various bands and to my knowledge while my mother was pregnant she was around his music so that may have influenced me, but he stopped playing bass not too long after I was born and for my dad, it became more of a passion project to play live music.



Can you recall what your first encounter was with any kind of music and can you remember the first record or piece of music that you took notice of?

I made a not so serious attempt at learning violin in 3rd grade when I was 8-9 years old but quit after about 3 weeks.  In 5th grade I started playing saxophone (1988) and I was say a year later I remember hearing a song which I later learned was called “billie’s bounce” featuring Charlie Parker.  When I heard this, I was so into the sound and the vibe that I put my radio Walkman headphones up to another speaker to record the sound so I wouldn’t lose the radio station.  Then I listened to that cassette recording for years. 




PROXIMITY is a good film, I was kind of engrossed, but I was even more impressed with the score, it’s like a vintage soundtrack as in nods to  John Williams, Jerry Goldsmith and John Barry, but it’s a new movie. The music really caught my attention, it is so powerful and drives the action in the storyline relentlessly. Were you asked or given any specific instructions regarding the style and sound of the score by the director?




Thanks so much for the listen!  This was an important one for me and really, fun.  The director had a lot of ideas about music but, wanted a highly stylized score and initially thought he might want one with a John Carpenter-influenced sound.  We talked about electronics and orchestral elements and a reference to the 80s, then I pitched the idea of a more John Williams-influenced sound as the orchestral backdrop, however the electronics stayed as an idea to incorporate, but not necessarily John Carpenter-based.



PROXIMITY is a grand sounding work, what size orchestra did you utilise for the score and what percentage of the musical line up was made up of synthetic support, also was it recorded at Skywalker studios?

Thanks yes it was a pretty grand type of a sound that I was striving for and surprisingly since we had the time, I took years to produce the final result.  We had 17 brass players and we recorded at Skywalker Scoring stage and engineered by Grammy-award-winning Leslie Ann-Jones.  I also processed a Tuba player where we recorded 3 hours of samples and Tuba-based loops beforehand.  Most other elements were synthetic. 



Do you carry out all your own orchestrations on your film scores, or are there times when this is not possible, and you have an orchestrator?

When possible, I use an orchestrator, so I can continue to concentrate on all the last-minute expectations of preparing for recording as well as things that need to happen quickly after the recording session to deliver.  To be orchestrating would, require much more time than is generally allowed.



Similar kind of question but this time regarding conducting your scores, do you conduct all of the time or are there certain projects where you prefer to supervise from the booth and have a conductor?

I love to conduct my own scores.  I will ask for help in the booth from someone I trust always, but to that point, I will go into the booth if I think someone can get the job done faster and we would split the responsibility of conducting. 


PROXIMITY also contains a few vocal tracks, do you have any involvement with the placing of the songs at all, and when you first saw the movie, had the director installed a temp track of any sort, and do you find the temp process helpful as in it gives you an idea of what the director maybe looking for, or is it something you find counterproductive?

 I enjoy the idea of temp music and it’s a conversation-starter for most directors.  It really does not have to be the final thing (to me).  As far as songs, it was always a plan to have original songs written by a songwriter for the film and I loved that idea as well!


JAMESY BOY is a film you scored in 2014, it’s dramatic but also I thought it was intimate and quite personal, how long were you given to write and record the score, and do you perform on any of your soundtracks?

Very intimate much more personal vibe.  Much more of a purposely indie feel and true to life Biopic about an actual person James Burns who I’ve come to know.  He overcame lots of tragedy and obstacles in his life and a beautiful artist emerged at the end of it all. Yes, I tend to perform most piano passages on my scores, as was the case with that film.  



Your scores are filled with themes, even the action cues have a great thematic presence, what do you think of the use of the drone sound or soundscape approach that is being used in more recent movies, is it music or is it sounds that fill a place in a score to underline certain scenes?

I think drones and soundscapes can be fun to create, and when used as a story-telling tool, are quite effective.  It can also be very effective to use a musical or evolving drone or soundscape whenever picture lends itself to that possibility.  



What artists or composers would you say have influenced you in your approach to scoring films?

Lots of influence from John Williams as well as Marco Beltrami who I was able to intern with back in 2004.  I also grew up listening to and also buying scores by Danny Elfman. These have been my biggest score influences over the years for sure and probably in that order.




You are working on COMING TO AMERICA ll, Does Eddie Murphy have specific ideas about what route the music should be taking?


Actually, as we speak, this weekend I’m told that Eddie Murphy is watching the film for the first time and will weigh in with his ideas.  Possibly music ideas, we will see.  It would be awesome if he likes the direction it is headed in.



Are there many differences between working on a TV project and scoring a feature film?



I think mostly time frame.  Once T.V. shows get going, the expectation is that turn-around time is cranking away whereas sometimes a film can be going on in the background for a year or more.




How do you work out your musical ideas, do you sit at the piano and develop you ides that way or do you prefer to utilise a more technical and contemporary method as in computer etc?

Mainly piano sketch for me as well as saving midi ideas in different ways that I can save and review later or adapt.  Also singing out ideas can be a quick and visceral way of getting an idea out.


What musical education did you have and were there any areas of music that you focused upon more than others?

A Bachelor of music in saxophone performance from NIU (Northern Illinois University) Master of music from UNT (the University of North Texas) and from USC the Scoring for Motion Pictures and Television program certificate.



Going back to PROXIMITY, how many times did you look at the movie before you began to formulate any ideas about the music and where it should be placed to best serve the picture?

To be honest many times over the course of 4 years.  I even got to visit set while they were shooting, but I never read a script.  Only saw storyboards beforehand which for me was plenty.




Is it important for a score to have core theme, and do you work this out first and then develop the remainder of the score around it or does this vary from project to project?


I think a main theme is a great starting point and any additional themes that can be woven in for the most important characters and or anything that can only be explained through music or a feeling that is unspoken. 





COMING TO AMERICA ll, is next on your agenda, but after that what will you be moving onto?

 I’m jumping back into the digital series “Our Star Wars Stories” for Lucasfilm which stopped production at the beginning of the Covid shutdowns. 











Over the years there have been so many soundtrack releases and at times it seemed like it was a never-ending wave of titles hitting the shops. Italian releases especially were difficult to keep pace with and that is something that has never changed, even now the record companies in Italy are issuing and sometimes re-issuing items that one probably never knew existed. I was thinking maybe I could enlighten the collectors who did miss out on a few, and now because most Italian scores are available either digitally or on CD, focus upon a few that in my opinion are outstanding. I do realise that Ennio Morricone was a huge influence on many of us, but for this article I thought steer clear of his scores and concentrate upon other composers. I will not, say lesser known composers although there might be a few you are unfamiliar with.


LA MORTE ACCAREZZA A MEZZANOTTE or DEATH WALKS AT MIDNIGHT is an interesting and absorbing mystery. The gripping and taught story was the work of now famed film director Sergio Corbucci and contained a screenplay which was courtesy of the combined efforts of Ernesto Gastaldi, Guido Leoni and Mahnahen Velasco (under the alias of May Velasco). Valentina is a beautiful fashion model who agrees to take part in a scientific experiment which involves the taking of a new drug. Whilst under the influences of the drug Valentina experiences a vivid vision of a young girl being brutally murdered, the murderer hacking at her with a spiked metal glove or gauntlet. It transpires that Valentina had an hallucination or a nightmare of a murder that has taken place and soon she finds herself being stalked by the same killer.  The musical score for the movie is the work of Italian film music Maestro Gianni Ferrio, who’s unique style and sound had already by this time established him as a highly polished and talented music-smith when it came to scoring motion pictures. Ferrio had been particularly active within the Italian western genre but he never conformed to what became known as The Italian Western Sound, his works for the genre were original all on their own, the composer utilising a fusion of jazz oriented sounds and grand Americana styles to create his own particular “sound” for any westerns he scored. LA MORTE ACCAREZZA A MEZZANOTTE is in my opinion one of the Maestro’s best scores, it contains so many strong thematic passages and vibrant motifs which are arranged and orchestrated with such flair and imagination. Primarily an upbeat sounding work, with the composer making effective use of percussion, choir, big band sounding brass and an ample amount of mysterious and dark atonal material.


The popular Italian female vocalist MINA makes a massive contribution to the soundtrack adding her fragile but sensual sounding voice to the proceedings, performing the haunting central theme from the score VALENTINA augmented and supported by harpsichord which is set to a Bossa nova tempo. Hammond organ too is used enthusiastically giving us the true sound of the 1970, s with its groovy and vibrant sound.  Musicians who featured on Ferrio’s score read like a who’s who in Italian music from this period and beyond, Alessandroni’s distinctive sounding IL CANTORI MODERNI are present throughout as is Oscar Valdabrini on trumpet and flugelhorn, Carlo Pes on guitar, Dino Asciolla on viola, Antonello Vannucchi on piano and Hammond organ, Franco Chiari and Carlo Zoffoli on vibes, Dino Piana on trombone and Sergio Conti keeping the beats going on drums and percussion. All of which are under the baton of Gianni Ferrio. Originally released on a long-playing record on the Ariete label (ARLP 2012) the compact disc release on Easy Tempo was an expanded edition, with a handful of previously unreleased cues included. includes a couple of bonus tracks that did not appear on the original release. The soundtrack was also released on a double long playing record by Easy Tempo, ET 902 DLP, which is like most of that labels catalogue difficult to obtain. However, don’t despair or pay fortunes for a copy as there is a digital recording available on the usual platforms so click and enjoy.  Staying with Gianni Ferrio, originally issued on a CAM long playing record in 1967, I DOLCI VIZI DELLA CASTA SUSANNA is a simple theme laden score that combines slightly dramatic musical styles with comedic flourishes and romantic interludes. It has within its running time a number of haunting and infectious themes, performed in the main by strings, brass underlined by percussion and little wisps of woodwind that are at times enhanced and punctuated by harpsichord flourishes which are themselves supported and augmented by subtle use of harp, both of which add a certain periodic authenticity to the proceedings. Ferrio was certainly an inventive and at times highly original composer, for this assignment the Maestro created a work that included, epic sounding cues, and also embellished these with little nuances that were either romantically laced or others that at times verged upon the mickey  mousing style employed by various composers when scoring animated shorts or comedy features, add to this a luxurious string soaked arrangement of the central theme and we have here something that is a little bit special. The score also includes a few pop orientated themes, which are upbeat and certainly grab the listeners attention. In the liner notes it states that maybe this latest BEAT release will not instigate a revolution in one’s collection, however I have to disagree because it is a score that hit’s the entertainment spots adequately and therefore is a worthwhile addition to any Italian film music enthusiasts collection.


Upbeat themes, lilting melodious tone poems, a richly lush arrangement of the scores principal theme which re-emerges on a number of occasions and fast paced chase music all go to make up an enjoyable listening experience and with one of the themes baring a striking resemblance to Ron Goodwin’s MISS MARPLES theme it’s a score that one does not really have to think about just merely pop it into the disc player and listen.



Stelvio Cipriani was a much sought-after composer of film music, but he did however at times become involved with movies that were, shall we say less than worthy of his music. He scored a number of comedies, that because were in the Italian language were less than successful outside of their country of origin. But he did however establish himself as a composer wo was obviously talented and produced numerous soundtracks that were not only supportive of the film but had a life away from the screen for people to enjoy. THE GREAT ALLIGATOR was a dire film and Cipriani did the best he could, it was an attempt to cash in on the success of films such as JAWS and PIRAHNA, but an extremely weak one I have to say, Cipriani’s music, was supportive but never really managed to hit the heights and at times the composer began to parody his own score for PIRAHNA ll-FLYING KILLERS. So, from a Cipriani score that you probably will not want in your collection to one that is atmospheric, and theme led.  In the 1970’s the composer worked on a version of the classic SHE.



The tale is filled with romantic and tense scenarios, it is steeped in mystery and has to it an aura that is magical and compelling. Stelvio Cipriani, worked on this particular version in the early part of 1970, the Maestro was no stranger to scoring movies which contained both action, romance and excitement, after all his career in scoring movies began back in the early 1960,s and continued to flourish and grow with the composer remaining active up until shortly before his death in 2018. Cipriani was born in Rome in 1937 and after leaving school decided to train as an accountant, eventually however he decided that it was music that he would follow as a career. He was particularly active during the 1960,s through to the mid-1980,s scoring numerous Italian made westerns and penning one of the most famous themes from that genre A MAN A HORSE AND A GUN which was written for the movie THE STRANGER RETURNS in 1967.


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Cipriani excelled when it came to creating infectious and haunting themes for motion pictures his most famous or notable non-western score being for the award winning movie THE ANONYMOUS VENETIAN in 1970, a soundtrack which is still today held in high regard by many and remains available as a recording after numerous re-issues etc. The composer is also able to create spine chilling and fearsome musical cues for the horror genre working on movies such as BAY OF BLOOD and BARON BLOOD. Cipriani’s score for SHE is a varied and powerful one and contains lush and rich sounding thematic material that would not be out of place in one of the many epics as produced by Hollywood during the Golden Age of cinema. Mysterious interludes combine with romantic tone poems and are underlined by a dramatic and apprehensive atmosphere. The score is available digitally but was also released on KRONOS records in 2016.

There have been a number of cinematic versions of the classic H.Rider Haggard tale of adventure, mystery and romance SHE. This particular incarnation of the story was released in 2001, Directed by Canadian born Timothy Bond who has mostly worked in television contributing to series such as MUTANT X, GOOSEBUMPS, HERCULES-THE LEGENDARY JOURNEYS, FOREVER KNIGHT and  ALFRED HITCHCOCK PRESENTS among others. This particular re-working of SHE tells the tale of Leo Vincey (Ian Duncan) who has received a map from his late Father, the map shows the whereabouts of the legendary lost city of Kor. Vincey accompanied by his partner Roxanne (Marie Baumer) sets out to not only find the City but also to find out the mystery that surrounds his own ancestry. After a while it transpires that Vincey is a direct descendant of an Egyptian priest who dared to fall in love with a Princess and for his crime was executed. On finding the lost city Vincey discovers that the ruling Queen is in fact that same Princess, AYESHA-SHE WHO MUST BE OBEYED (Ophelie Winter) who has somehow via magic remained youthful throughout all of the centuries that have passed. When Vincey is presented to the Queen she becomes convinced that he is the reincarnation of her dead lover who has returned to be with her but is enraged and becomes intent on killing him. H. Rider Haggard’s inventive and exciting story has transferred to film well on more than one occasion, in fact one of the first cinematic presentations of the story was in 1925, it was then filmed again in 1935 which is the version that many say is probably the best, which as we all know contained a score by Max Steiner.




On SPARA GRINGO SPARA, composer Sante Maria Romitelli, provides us with a score that just bursts with energy and vibrant original musical content. It boasts several up tempo almost beat/pop tracks which are entertaining, foot tapping stuff. The score also includes a few tracks that can be categorised as dramatic, symphonic and near operatic. Like many scores for westerns which were produced in Italy during the 1960s and 1970s the soundtrack features performances on electric guitar, harpsichord, trumpet and organ, which are either as solo instruments or as a combination of all of these elements to create a score that is not only perfect for the movie it was written for, but also has the ability to stand alone away from the images and remain an entertaining and interesting work. SPARA GRINGO SPARA is a soundtrack that is made up of themes for the films principal characters. For example TEMA DI STARK (track number 7) is a powerhouse of a cue, it begins with an organ motif which is joined and eventually overwhelmed by strings and brass, this then leads into an electric guitar solo, backed up by organ and vibes, the track develops into a full blown version of the theme for Stark, which is carried along by the string section with organ and guitar making entrances along the way, certainly stirring and inspiring stuff. There are also a handful of compositions on the soundtrack that can be described as suspense cues, not musical or thematic, but nevertheless go to make up an interesting part of this score. Another great release from the GDM/Hillside partnership. Which should still be available at certain retail sites.





As discussed in part one of the Movie Music International tribute to Ennio Morricone, the western was a genre of film which played a large part in the beginning of the composers career, But, whilst scoring these Italian produced westerns the Maestro was also busy creating sounds and styles of music that would complement and support numerous other genres of film. In Part two of the tribute we look at the many other genres that the composer was actively prolific within at the same time as he was working on Italian western scores. Because the western genre and the music of Morricone for this collection of movies was so powerful and different, many people at the time believed the composer was only capable of writing music for westerns. Which of course was not the case, Morrricone’s most fruitful period of writing for film was I would say between 1963 through until the mid to late 1980, s.

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So in this section I would like to attempt to highlight just a fraction of the work the composer did for cinema from his first full score onwards and but also include certain scores from the 1970.s that I consider to be an important part of the composers rise to popularity via his inventive skills. His scoring prowess was utilised by many on a plethora of movies all from varying genres. Morricone provided atmospheric, stirring and romantically laced works for so many Italian and then French and Spanish co-productions, many of  these were not big productions, in fact a number not being released outside of Italy for some years after their original release, they were essentially independent affairs with small or very limited budgets. Critics and fans at times refer to some of these films as soft porn, but I prefer the description of art house or maybe tasteful when discussing these. Either way they were different and for the most part hugely entertaining. The Giallo movie featured prominently within the  composer’s output which can also be said for so many Italian film music composers who were active at this time, if it was not a western they were scoring it was a Giallo or maybe a horror or crime caper.




But like westerns the Giallo films although conspicuous in the composers canon, took up a very small percentage of his filmography, and like the westerns the scores he penned for Giallo’s were so outstanding, that it seemed as if he scored a lot more than he actually did.  Morricone had the edge on many of his fellow composers, because he possessed the ability to create simple themes that became popular and haunting as well as being an integral component of the film that they were written for, he also was not afraid to experiment with sounds and play around with orchestration and utilise sounds both musical and otherwise that normally would not have been associated with the genre, thus Morricone was an innovator and without knowing it created sounds and styles that would forever become associated with specific genres of film. So maybe we should begin with the Giallo and then move onto other types of movies.


Giallo which translates as Yellow in Italian, was adopted from the yellow coloured covers of books that were published containing stories of mystery and murder and it followed that the Giallo name was applied to movies that were similar or followed the storylines to these books.

So is a Giallo movie a murder, a mystery a horror or a cop-crime drama? Well, I suppose each movie is different but most Giallo,s have elements of all of these as well as having ingredients that could come under the category of soft porn or of an erotic nature. The first Giallo or so it is documented was directed by filmmaker Mario Bava back in 1963, entitled THE WOMAN WHO KNEW TOO MUCH. From there the interest in these types of films and their unusual mix of plots and scenarios began to grow and attracted the attention of non-Italian audiences swiftly. As the interest in the Giallo movies increased so did the involvement of directors, writers, producers and composers who were keen to make their mark upon this new at times grisly, disturbing and risqué genre.


A director that comes to mind straight away is Dario Argento, with his THE BIRD WITH THE CRYSTAL PLUMAGE (1970) for example. I do realise that Argento’s movies of note did not come to fruition until the early 1970.s, but I thought maybe start with Argento and the collaboration he enjoyed with Ennio Morricone. A collaboration that lasted until the end of the 1990.s and although Morricone did not collaborate with Argento on all of the directors movies, the examples he did score are arguably some of the filmmakers best contributions to the genre, with Morricone’s music adding chilling and unnerving atmospheres and also giving the production an apprehensive but at the same time memorable, and theme led musical sound.


Ennio Morricone has been one of the most important composers of film music. My reference models were Bernard Herrmann, Jerry Goldsmith and John Williams but Morricone was also fundamental as a reference model for emotional melodic music and experimental avant-garde music. Ennio Morricone moved in different directions: First the classical studies at the Conservatory of St Cecilia, then the arrangements of pop music for singers such as Gianni Morandi, then the writing of music for films, alternating a “conventional” melodic style with an experimental style towards dodecaphonic and atonal music. In one his latest score, for Quentin Tarantino’s “The Hateful Eight”, which led him to win his second Oscar, was confirmed his “modern” streak and desire to look for new musical solutions.

I met Morricone many years ago together with the Sergio Bassetti, record producer.

Then we at his house together with his son Andrea. The works that I liked most are not those for which he is well known as “Once upon a time in America”, “The Mission” or “Nuovo Cinema Paradiso”, but other less well-known works, which captured me for the emotional strength and the ability to “catch you” without being “too sweet “. I refer to “Il Prato” by the Taviani brothers (a beautiful and expressive Renaissance style theme),



“Sacco e Vanzetti” by Giuliano Montalto (A heart-touching music and two beautiful songs performed by Joan Baez), “Orca” by Michael Anderson, (A very engaging music theme and effective dissonant music (for the underwater and dramatic scenes with the Orca), “Mose” by Gianfranco De Bosio (TV series with a very moving theme for choir and orchestra), “Addio fratello crudele” by Giuseppe Patroni Griffi (Classy emotional music, with a Renaissance flavor), “The Thing” by John Carpenter (interesting collaboration for an excellent horror movie by director Carpenter, who usually also writes the music for his films. Morricone’s music integrates electronic musical ideas, in tune with Carpenter ‘s previous film scores, but adding a “human” side conferred by atonal interventions of the strings section), “L’avventuriero” (the Rover) by Terence Young (romantic music and dissonant compositions for choir and orchestra), “Days of Heaven” by Terence Malick (a beautiful movie with beautiful music themes), “L’uccello dalle piume di cristallo” by Dario Argento (extremely effective atonal music). For the western genre my favorite is “The Return of Ringo” by Duccio Tessari (a nice theme, also in a vocal version, and symphonic music), as well as the first ones of the series “Per un pugno di dollari“ and “Per qualche dollaro in piu”).

When I learned of Morricone’s death I listened to the music of “Il Prato” and I was moved. We have lost a really important composer.



Marco Werba, Composer conductor, July 2020.






Dario Argento’s masterpiece in my opinion is, THE BIRD WITH THE CRYSTAL PLUMAGE, the score by Morricone is superb and has to it a smouldering, seductive and sensual air, the composer utilising female voice to great effect in both melodic and experimental ways. I remember buying the LP record which was on the Capitol label which was an American import. I think it was about the same time as THE SICILIAN CLAN became available on record on the Stateside EMI label. The score for THE BIRD WITH THE CRYSTAL PLUMAGE contained music that was so different from anything that had been heard before. Morricone’s soundtrack was like a stalking figure, an icy breath of death and contained a style and sound that we now immediately associate with something that is sinister or harrowing, which is again testament to the inventive mind of Il Maestro.


He fashioned a menacing work with a sound that is both stressful and tense which clung to every frame of the film, underlining enhancing and also becoming part of the action taking place on screen, Morricone’s music in my opinion took on the role of another character within the movie, it was like the music was telling the watching audience the story and relating to them the torment and the terror via its  tantalising and unique audio.


But, again the composer utilised a central theme entitled VIOLENZA INATESSA that was just the opposite to the violence and anxiety that was generated within many of the scenes in the movie, again a masterful move by Il Maestro, because at the start the audience were lulled into this false sense of security, what could possibly happen with this beautiful and charmingly childlike theme playing. The same can be said for the secondary theme that Morricone penned for the film, NON RIMANE PIU NESSUNO possess an easy listening or lounge music sound and is the personification of light and comfortable if there is such a thing in musical terms, again the audience are totally unaware what is about to hit them. The cue has to it a chilled samba style, with Il cantori moderni and Edda del Orso on the vocals, its guitar led samba beat could be something that one plays as background music when just chilling on a Sunday afternoon. CORSA SUI TETTI is the cue where we hear the first inclination that this could be a little more ominous, Morricone utilising percussion to great effect, a breathless female voice, muted trumpet, and a succession of la la la la.s performed by an unnerving collection of voices, that weave in and out of the cue. These can maybe be perceived as non-menacing, but the underlying effect becomes unsettling as if an unspeakable act is looming.

The breathless and gasping female voice is heard throughout the score and is effective and affecting as it makes the listener apprehensive, and also uncertain because one is not too sure if this a voice of pleasure or of pain and anguish. Meandering piano is also interwoven into the fabric of the score creating a tense and at times chaotic musical atmosphere. There is no doubt in my mind that THE BIRD WITH THE CRYSTAL PLUMAGE would have been a less knife edge mood filled movie without Morricone’s nightmarish sounding music. In many ways this was a pre-cursor for the Maestro’s excellent and inventive soundtrack to THE EXORCIST 2-THE HERETIC, as we can hear in THE BIRD WITH THE CRYSTAL PLUMAGE sounds and phrases that would manifest themselves in this later work.


THE CAT OF NINE TAILS or IL GATTO A NOVE CODE (1971) is another Dario Argento movie that is certainly worth watching, although at the time of its release it was not that popular in Europe, in fact it achieved more success in the United States, this is probably because of the cast as in Karl Malden and James Franciscus. The movie which is the second part of the directors sometimes called Animal trilogy, the other two movies being THE BIRD WITH THE CRYSTAL PLUMAGE and FOUR FLIES ON GREY VELVET, also starred the attractive actress Catherine Spaak, and was adapted by Argento into a screenplay from a story by Dardano Sacchetti, Bryan Edgar Wallace and Luigi Cozzi. The title CAT OF NINE TAILS is no direct link to an actual cat or even the multi tailed whip that is sometimes referred to as this. Instead the title is a link to the number of positive leads that the main characters must follow to solve a murder. Argento himself was not a fan of the movie and has often said it is probably his least favourite work. The score by Ennio Morricone is again innovative and in many ways arguably more inventive than THE BIRD WITH THE CRYSTAL PLUMAGE, the composer employs sinister sounding choir and strings, with off kilter woodwinds underlining and punctuating the proceedings, his use of percussive elements is stunningly effective and he adds to this cracks, muted and straining trumpet, screams and shouts and various other vocal performances that are like musical stabs becoming harsh and discordant, but saying this they work well in creating a dramatic and unnerving atmosphere.


Like THE BIRD WITH THE CRYSTAL PLUMAGE the composer also introduces a melodic and haunting theme entitled NINNA NANNA IN BLU, this is performed by woodwind, choir and a wordless female vocal which is again Edda Dell Orso, the simple but beautiful melody is a pleasant and welcome respite amongst a soundtrack that is filled with tense and atonal passages. There is also present what can be described as spidery or shivering sounds that create a tormenting often vexing aura.



In the same year as CAT OF NINE TAILS, Argento also brought to the screen FOUR FLIES ON GREY VELVET. I thought this was a good gripping movie and the score that Morricone fashioned was perfect for the film’s storyline and scenarios.

The plot involves a drummer from a rock band named Robert Tobias, who is followed by a stranger, Tobias however turns the tables, or so he thinks and tracks the stranger to a deserted theatre, but on confronting him finds that he is armed with a knife, a fight ensues and Tobias kills the stranger in the heat of the struggle. Unbeknown to Tobias there is a third person at the theatre who has been taking photographs of the events, Tobias finds himself the victim of blackmail, but the blackmailer is not wanting money to keep quiet.




Morricone composed a tense soundtrack and incorporated a rock infused style and sound into it. The work was filled with wild drumming and Hammond organ, that was laced with fuzzy rock guitar and an upbeat soulful male voice. The work has an atonal style with searing strings, choral work and heavy breathing from female voice in a similar style to that of his THE BIRD WITH THE CRYSTAL PLUMAGE soundtrack. Dark sounding piano and percussion join forces to create an ominous aura and these are supported and underlined by woods, strings and subtle use of brass, bass guitar and more percussion that mimics a heart-beat.


From three classy Giallo’s which are now possibly cult movies, we move to more collaborations between Argento and Morricone, the first being In 1996 for the psychological horror movie, La Sindrome di Stendhal which starred the film makers daughter Asia Argento, The movie was the first Italian production that used Computer Generated Imagery or CGI.  I found the film and it’s subject fascinating and researched the condition further after seeing the movie. The film also featured performances from Thaomas Kretschmann and Marco Leonardi, Stendhal Syndrome is considered by many to be a true condition, which was originally discovered in Florence Italy in 1982. This I think is why the movie is so affecting and impacting, because this is something that occurs in certain people. The psychological condition is one that causes the subject to enter a fugue state displaying memory loss or a blackout, which is thought to be induced by the presence of a piece of art.


The director has said that he himself experienced the syndrome whilst he was a child on holiday in Greece, he started to climb the steps of the Pathenon but was overcome by a trance that caused him to become disorientated and separated from his parents, which resulted in the young Argento becoming lost for hours before eventually being re-united with his Mother and Father.


He never forgot this experience and was reminded of it even more vividly after reading the book by Graziella Magherini on which he based the screenplay of the movie.Ennio Morricone by this stage of his career had already composed the scores too many Giallo movies and collaborated with many esteemed filmmakers, Argento being among these. The composer drew upon his considerable expertise and abundance of inventive talent to create a suitably edgy, yet melodic sounding score. I think this is why Morricone’s scores in these types of films work so well, he would often include a childlike theme or sound or at least hints of these, and combine this simple and affecting idea with both eerie and anxious musical personas, the end result was music and sounds that tricked the audience into thinking all was well when in fact it was far from that.


The composer was in fact informing the audience that things were probably not as they thought they were and to a point warning them that there was about to be a moment of violence or some other chaotic or startling incident.  In the score for THE STENDHAL SYNDROME the composers use of female voice in the opening musical statement sets the scene wonderfully for much of what is to follow, Morricone adds to the vocal performance nuances performed by woodwind and also harpsichord or celeste, that punctuate, extenuate and underline the soprano performance, thus when all the components are combined they create a haunting musical phrasing, which is maybe not that unsettling at first but soon purveys an atmosphere that is richly dark and deeply affecting, creating a mood that is filled with malevolent undertones and sinister connotations. The remainder of the score is more or less an extension of the notions displayed within the opening theme, the composer expanding or at times narrowing these. The composer adds more instrumentation such as a strained trumpet, which sounds  as if it is struggling for breath, this is further underlined by a scattering of brass with wisps of mysterious woodwind and strings that subtly rise and then take a sharp descent to create a sense of bewilderment and fear. Although the central theme is pleasantly repetitive, there remains a virulence and an underlying deep and sinister sound that clings on in the piece, which is why Morricone was and will remain the Master.




In 1998, Morricone scored Argento’s THE PHANTOM OF THE OPERA. This would prove to be a very different PHANTOM OF THE OPERA that we were used to seeing on screen but remember this is Dario Argento so things are very rarely normal. The character of the Phantom in this version is not disfigured in any way apart from maybe his personality. It is Paris 1877 and a number of rats save a baby that has been abandoned and left to float down river. These rodents raise the infant in the underground tunnels that are below the Opera de Paris, the child grows into an adult and becomes Argento’s Phantom of the Opera, he murders anyone that dares to wander into the tunnels that are his domain, he treats the humans who dare to enter his subterranean world as they treat rats when they venture above ground killing them brutally and showing no mercy. Julian Sands plays the Phantom who falls in love with a beautiful young opera singer portrayed by Asia Argento, he hears her mesmerizing singing on stage one night and goes to her to tell her that her voice fills him with light and hope. After he leaves the girl, he speaks to her via telepathy, and the couple begin a romantic relationship. So, very different from any other version of the story. Morricone’s score is full of romance and a lush vibrant sound, his heartrending themes ingratiate and support the movie, adding to it a greater sense of romanticism. Sadly, it is probably a score that is at times overlooked, but it is one of the Maestro’s most gracious and is filled with rich and vibrant thematic material having to it a charm and reverence.


From the ground-breaking directorial skills that we associate with Dario Argento, we move to an American movie which was much anticipated, because its predecessor THE EXORCIST had gone down in cinema history as being the most frightening movie ever made. However, THE EXORCIST ll-THE HERETIC was not scary in that sort of way, the acting was a little frightening as in it was terrible, and the direction too lacked any real fluidity with the storyline lacking in substance, filled with flaws and gaping holes. The cast included Richard Burton no less and also Linda Blair who reprised her role as the troubled Regan. The best thing about the movie was the score, Morricone was well aware of the trouble and the controversy that had surrounded the music for the first movie, but took all of the factors into account and produced a soundtrack that was a mix of styles and sounds both atonal, melodic and ethnic.  The central theme REGANS THEME is classic Morricone, lilting strings, female voice and choir, its infant like sound not only being attractive but at the same time creating an atmosphere that was uncertain and chilling.


Morricone’s score is a triumph and considering the movie is probably one of the worst ever made, the composer’s soundtrack has survived away from the images of the movie. At times it is a complicated and difficult work to listen to away from the film, but it is still an accomplished work. Cues such as INTERRUPTED MELODY which boasts a romantic violin solo, that is aired three times within the score, the composer adding female voice to one of the arrangements, giving it an even more melancholy and fragile sound.  Then there is the opposite sound of the raw and jagged PAZUZU, both different but also both being the highlights of this score. The track NIGHT FLIGHT is a somewhat mad and frenzied piece, screams and shrieks dominate the composition, with Morricone employing percussive elements and whips cracking and lashing throughout. THE HERETIC won no applause from the critics for cinematic prowess, but the affecting soundtrack remains an accomplished and noteworthy work from Il Maestro.



Staying with horror but going back to the 1960’s and also to Italy for the next example of Morricone’s ingenuity and musical excellence. NIGHTMARE CASTLE aka-THE FACELESS MONSTER starred Barbara Steele and Paul Muller. Directed by Mario Caiano and released in 1965, this was a horror in the style of Mario Bava, with Steele and Muller playing lovers who are discovered and killed by Steele’s husband, but they return from the dead to cause all sorts of problems in a bid to have their vengeance. Morricone provided a serviceable score for the production, with a surprisingly melodic soundtrack, the opening theme for the score, is piano led and is the original arrangement of the theme which Morricone re-orchestrated and re-used in the 1967 Anthony Quinn, Rita Hayworth movie THE ROVER or THE ADVENTURER which was directed by Terence Young. The haunting theme is given a concerto like performance, with the remainder of the score utilising sections or fleeting glimpses of the theme  as well as gruesome sounding organ performances, the central theme re-occurs throughout the work, but is given fresh and vibrant arrangements each time it is utilised.




It is this theme that becomes the foundation of the score, Morricone building upon it and layering in more atonal moments as well as mysterious and dramatic content, at times the score has to it a sound and style that we do not ordinarily associate with Morricone during this period of his career, this is certainly a more full on and dramatic based work, again the use of voices conjure up a deep and disturbing sound, that is underlined by more conventional instrumentation in the form of solo piano and a small string ensemble.



I have been aware very early of the music of Ennio Morricone: his great themes and lyrical writing have been a strong influence for me and one of his scores is among my favourite’s his fantastic yet less known Mission to Mars score – among many others. There are too many highlights in his prolific career to be mentioned here, and they all have their strong and timeless personality. He was one of the great composers, a true unique voice in film music and will be sorely missed.

 Composer, Maximilien Mathevon.  July 2020.


Science Fiction too was a genre that Ennio Morricone excelled in, his score for MISSION TO MARS being both dramatic and melodically excellent. MISSION TO MARS was released in 2000 and was the third and final collaboration between Director Brian de Palma and composer Ennio Morricone. The film focuses upon a rescue mission that is sent to Mars to find out what has happened to a previous expedition to the red planet and hopefully bring back any survivors. The film was not that much of a success at the box office, but I cannot understand why this is, I found it to be an entertaining movie and the score that Morricone penned is one of his most harmonious and affecting emotionally. The composers use of fragile yet commanding themes is key to many of the movies scenes and at times the music tells the story rather than the images or dialogue, there was a saying I heard early on in Morricone’s career that he composes “Music For The Eyes”.


Well this is certainly true in the case of MISSION TO MARS. The score invites the audience into the world of the rescue team, it beckons the audience to investigate and explore the mysterious planet, and it also enhances and ingratiates the entire movie. A HEART BEATS IN SPACE is a beautifully crafted cue, and one which opens the soundtrack recording.


The style here is of the classic Morricone, which the composer fuses with the style that he employed in assignments such as De Palma’s THE UNTOUCHABLES and CASUALTIES OF WAR, it is romantic but also dramatically powerful having to it an almost operatic persona.



It’s one of those scores that mesmerizes and entrances the listener, with fragile and delicate nuances introducing and building to grand expressive thematic crescendos. It contains a number of tracks that are what can be referred to as slow burners, the composer adding instrumentation as he guides his composition to its climax, fashioning simple but truly inventive and touching pieces.



Staying with Sci Fi and a movie that probably did not get more than a handful of positive reviews L’UMANOID aka-THE HUMANOID is a totally barmy space adventure, and was an attempt at cashing in on STAR WARS and other STAR WARS clones that were doing the rounds at this time. Released in 1979, this is definitely a case of the music being far superior to the film it was composed for, it’s a surprise to me that during this stage of his career as to why Morricone became involved in such obvious box office flops, this I think is worse than STARCRASH, but the inferior quality of the movie did not stop Morricone fashioning a superbly atmospheric soundtrack. At least Morricone did not attempt to mimic the sound created by John Williams for STAR WARS as John Barry did for STARCRASH failing miserably. The film incidentally starred Richard Keil, who had become popular via his roles in the Roger Moore Bond movies playing the infamous Jaws.



 L’UMANOID is in fact a very good score, and its also a soundtrack that I would recommend that you listen to away from the film, the composer combines both symphonic instrumentation with electronic and synthetic support which results in a dramatic and melodic work that is enhanced further and given greater depth and stature by the inclusion of electronics. The stirring opening theme, is splendidly powerful and forthright, the composer introducing the piece with electronics that build with gathering percussion into an introduction for commanding brass, that I always think resemble ODE TO JOY but maybe that’s just me. The highlight cue on the soundtrack has to be ESTASI STELLAR which includes a heart-breaking violin solo, that is equal to the composers work on the later CINEMA PARADISO, its another one of those Morricone themes that begins quietly and is an unassuming piece, and then suddenly fills with emotion and swells with poignancy, and totally overwhelms and absorbs the listener.


It is a soundtrack I could sit and listen to over and over and never tire of it, it has a certain quirky persona to it, but Morricone created some beguiling themes for this less than entertaining motion picture.


ORCA-THE KILLER WHALE is sadly another movie that was less than welcomed by critics and cinema goers a like, directed by Michael Anderson and starring Richard Harris and Charlotte Rampling it is one of the many movies that attempted to cash in on the success of JAWS and although the film did have some thrilling moments it was a case of the Killer whale out-acting the main players. The only saving grace being the atmospheric and beautiful score that was composed by Ennio Morricone. Atmospheric as in supportive of the action scenes and beautiful because of the haunting Orca central theme. A theme which is given a number of varying renditions, including the vocal version performed by Carol Connor. The film was edited or censored badly when first released which certainly never helps matters, especially if the movie is not exactly Oscar material in the first place,  Morricone’s music helped a little to prop up the production, but can a good score save a bad movie, NO! I think the answer is in this case. The score contains numerous tense and dark sounding cues, which are done in the true Morricone tradition, the composer adding a greater depth to the scenes unfolding on screen, and also bringing some sense of credibility to the movies somewhat thin plot. Television presenter Chris Kelly in the UK was so impressed with the score for the film, that he featured a section of the movie which included Morricone’s music on his show called CINEMA back in the late 1970’s, mentioning Morricone by name, which in those days was very rare.


Compared with scoring movies it was not that often that Ennio Morricone ventured into scoring TV series, but when he did the results were always effective, and I am not talking of his CHI MAI theme from MADDALENA being used for a BBC series, but original scores and themes for television. GOTHIC DRAMAS, was a series produced in 1977, and directed by Giorgio Bandini, the series was aired by RAI UNO and achieved mild success at the time of its broadcast. Morricone had worked in TV before GOTHIC DRAMAS, and during the 1970’s he was responsible for writing the titles music for the American TV western THE VIRGINIAN which had undergone something of a facelift and was re-titled THE MEN FROM SHILO. The composer also scored the mini-series MOSES THE LAWGIVER in 1975, which became essential viewing throughout Europe. The production was quite lavish for television, with companies from England and Italy collaborating to bring it fruition, Burt Lancaster starred in the title role.


GOTHIC DRAMAS was split into four episodes, these went under the titles of KAISERSTRASSE, which was based on stories by Hans H Ewers. MA NON E! UN VAMPIRO? (BUT IS SHE A VAMPIRE) Which was constructed around a Sicilian fable written by Luigi Capuana; LA CASSE DELLA STREGHE (THE HOUSE OF WITCHES) based upon three works by H.P LOVECRAFT and DIARIO DI UN PAZZO (DIARY OF A MADMAN) which was an adaptation from the works of Gogol. The scores that Morricone created for the series cannot really be described as being rich in thematic content or filled with lush musical passages, on the contrary the Maestro wrote a largely atonal score for each episode, it also took on the guise of a somewhat modernist and slightly Avant Garde sound and style, which is a style that is often purveyed in the concert music of the Maestro. Morricone produced an interesting set of soundtracks for the series, each one different, but at the same time containing a sound and distinct musical persona that we associate with the composer which linked all four scores together. The music was as complex and perplexing as the scenes and stories being acted out on screen, underlining, and punctuating each sinister and heart stopping moment. But as always with most Morricone soundtracks there are a handful of less fraught pieces, which act as a calming interlude in a plethora of malevolent and at times eerie cues. These include, LA STRADA DELLA FOLLIA, which is from KAISERSTRASSE, this part of the score opens with an enchanting and mesmerising choir, which has a fragile and beguiling sound to it, the voices being complimented and augmented by the subtle use of harp that is plucked delicately and sensually, creating an atmosphere that is warm and safe.


The voices soften and eventually melt away, leaving the harp to pick out the central theme that was introduced by the choir.  Also, within the score for KAISERSTRASSE the composer utilises a music box effect, FUORI DALLA REALTA, this is a simple melody, that is embellished by the use of voices, together the two elements are angelic in their initial sound, but at the same time the simplicity and subtlety conjure up a sense of unease. KAISERSTRASSE also includes a barrel organ effect, or maybe a hurdy-gurdy sound, which if I am correct most would associate with a circus or fun fair, but in the hands of Morricone it takes on a more sinister and evil persona, suggesting to anyone listening to the recording that all is probably not well, or as it should be. The effect is recorded with an echo, so it becomes even more of a threatening and foreboding sound.


The cue entitled PIOGGIA on KAISERSTRASSE is a harrowing and icy sounding piece, performed by harpsichord which undulates in and out of the composition, creating a spidery and otherworldly effect, this is underlined and laced with short sharp stabs and fleeting notations performed by woodwind and strings that are fused with a chiming effect, together they create an uncanny sound that is not only unsettling but one that evokes a mood of desperation and overwhelming apprehension. The second score that is represented on the recording of the soundtracks for the series is from MA NON E! UN VAMPIRO?, this section opens with a theme that I am told opened each of the episodes, this instalment of the series is the only one out of the quartet of films that has any background information available, so maybe this was the most popular? A gentleman, Giorgio, marries a widow and everything as they say is as it should be, the couple have a child, but the boy becomes ill wasting away as if drained of life itself, then the widows dead husband returns from the grave, and it is clear he is the cause of the child’s illness. Giorgio sends for a friend Mongeri who is a scientist that dabbles in vampire hunting! Mongeri dispatches the dead husband by burning him and everything returns to normal, then Mongeri meets a widow and marries and the scenario begins again. The music for this episode is a mixture of styles that include chaotic string performances, choral work and atonal sounds and stabs, but there is also some fragile and beautifully crafted cues for solo violin, violin that is flawlessly performed by Dino Asciolla, who Morricone had turned to before and also continued to work with, Asciolla performed the stunning violin solos for the score to the RED TENT in 1969.


The performer is also featured in the third score HOUSE OF WITCHES, his performances being fused with chimes, plucked harp, driving tense strings and choir, that are in turn further embellished by harpsichord, solo voice and the sound of a female soprano gently exhaling combined with a shimmering or tinkling effect that makes the listener literally shudder.  The fourth score, DIARIO DI UN PAZZO (DIARY OF A MADMAN) is a score that literally purveys the sound of madness, the harrowing use of voices within the piece is superbly done and is literally insane sounding music. Manic shrieks, tortured voices, laughs, half heard whispers, piercing screams and hysterical crying all come together in a chaotic and mind-bending piece which runs for some 12 minutes, I would not recommend listening to this in a darkened room or alone as it would probably spook you severely. GOTHIC DRAMAS is a look into the highly original and innovative musical style of Ennio Morricone, who we all know was a composer that was not afraid to experiment and push the musical boundaries to the limit, and when he did he successfully enhanced images on screen and at times also created new musical genres.


ennio_morricone (1)

It is probably only when one sits down and looks at the filmography of Ennio Morricone and also his music for concert hall performance or Absolute Music, that one realises just how great this composers output was, and also indeed just how much he has influenced so many people and not just composers either. Wading through the lists of soundtrack releases and also the directors that he worked with during his illustrious career is quite a lengthy and staggering process. So, from the Horror, the sci-fi and the Giallo we now move to other genres of film that the composer was active within and also genres that he excelled in (so all of them really).


It was during the period from the 1960’s through to the early 1980’s that it seemed Morricone composed at least two scores a week, that is how great his output was, or that’s how it looked to many collectors. Obviously he did not score two movies a week, but because of release dates and scheduling, the films and the soundtracks all seemed to be released at the same time, so it was at times difficult for collectors to keep pace with the releases. And let us not forget that many movies were released late outside of Italy and this was the same with the soundtracks. There was a rumour circulating in the late 1960’s that Morricone had what was referred to as a library of already prepared scores, which he had written, and would select a score that he thought would be suitable for a certain project.  Again, not true, I think when a composer, director or even a writer becomes this prolific there are bound to be stories that pop up here and there most of which are fantasy. I can recall going to The Arts theatre club in London and buying soundtracks from Michael Jones, who had a great selection in the foyer of the club. SOUNDTRACK was probably one of the first retail soundtrack specialists who also did mail order, and I am of the opinion without people such as Michael at Soundtrack and later 58 Dean Street and John Yap who set up That’s entertainment records in London, we as collectors would have struggled to get our Morricone or indeed soundtrack fix. This is when Morricone soundtracks became popular, which was as we all will agree mainly due to his Italian western scores. But there were many other Morricone scores finding their way to the London shops during this period, METTI UNA CERA A CENA for example, or LOVE CIRCLE as it was entitled outside of Italy.  THE SICILIAN CLAN, CITTA VIOLENTA, LA DUE STAGIONE DELLA VITA, DEVIL IN THE BRAIN, LA COSSA BUFFA, HE AND SHE, SEASON OF SENSES, QUEIMADA, TEOREMA, THE RED TENT, ESCALATION, MALAMONDO and so many more.




So, where to start? Probably at the beginning is a good idea, IL FEDERALE (1961) is looked upon as the composers first full score for a motion picture. In the same year the Maestro scored a TV project entitled ALL’A SCOPERTA DELL’AMERICA, and two shorts, VERRO and VICINO AL CIELO. IL FEDERALE or THE FACIST was a French and Italian co-production directed by Luciano Salce, produced by Dino De Laurentiis and starred ,Ugo Tognazzi . The movie did not receive a theatrical release in the UK and the United States until 1965, which is why many were unaware that Morricone had scored the film, many Morricone fans outside of Italy were under the impression that his first film was A FISTFUL OF DOLLARS. IL FEDERALE is not a typical Morricone score, although there are certain references and little wisps of orchestration that would become familiar in later scoring assignments. The Maestro fusing a martial sound with hints of comedic interludes.


The music for the movie was in fact quite simple, and in places used sparingly. Morricone again collaborated with IL FEDERALE director Luciano Salce in 1962 on the movie LA VOGLIA MATTA or CRAZY DESIRE AKA- THE CRAZY URGE. The movie which was a comedy starred Ugo Tognazzi and is the film credited for launching the acting career of Catherine Spaak, the film was banned by Italian censors initially until they had made what they thought to be appropriate cuts. But even then the movie was thought to be too much for children under the age of fourteen.  Morricone’s score is superbly luxurious and easy going, with beautiful lilting themes that are given a pop orientated sound with clever instrumentation and smooth and appealing thematic content.

We hear for the first time a distinct sound or style that would develop further during the next two or three years. The score also contained a soaring female soprano and a handful of what are source music cues, as well as a romantic sounding song LA TUA STAGIONE which was performed by Male and Female vocalists, the female vocal version in my opinion having the edge and coming across as a sensual and sexy number.


Again, in 1962 Morricone and Luciano Salce worked together on LA CUCCAGNA- AKA- A GIRL IN A MILLION. The soundtrack was basically a collection of Italian pop songs, with Morricone providing a few instrumental cues, but the songs were all arranged and orchestrated by the composer and he is also credited as having written them. As Italian pop songs from the 1960’s go these are pretty entertaining and have to them the sound and the style that we associate with this era, containing a distinct upbeat tone at times, with electric guitar, percussion and bass being utilised alongside romantic sounding strings, and other vocals having to them a definite crooner element. The instrumental score for me resembled more the style of Nino Rota or even Mario Nascimbene who of course Morricone had arranged film scores for. 1962, was also the year in which the composer collaborated with director Camillo Mastrocinque on two movies, I MOTORIZZATI and DISCOTTENI AL SOLE.

little nuns

In 1963 Morricone again collaborated with Luciano Salce, on LE MONACHINE or THE LITTLE NUNS,  it tells the story of two nuns who go on a mission to Rome to ask pilots to stop flying their aeroplanes over the convent where they live, because the noise and vibration from the planes are causing cracks in a sacred fresco. A thin plot but a passable comedy, which starred Catherine Spaak and Didi Perego. The soundtrack was released on the CAM label on an LP record and later a compact disc was released at first on CAM as part of the CAM SOUNDTRACK ENCYCLOPEDIA, and then an expanded version was made available.

It is a pleasant score, with several attractive melodies scattered throughout and as always was supportive and enhancing of the film and its storyline. Again, the composer utilised the music sparingly, but this I think was the charm and the attraction of the score.



1963, was the year in which Morricone scored his first western, DUELLO NEL TEXAS, and also worked on the comedy, IL SUCCESSO for filmmaker Dino Risi, as well as writing the soundtrack for the drama directed by Lina Wertmuller entitled  I BASILISCHI.



Morricone on Morricone.

“All music comes from another and far deeper place that exists beyond the real world of man”.

Ennio Morricone. (from his book LIFE NOTES) © 2016.

(published by Musica e Oltre).

1964, was a landmark year for the composer, he scored ten movies in this year and a documentary I MALAMONDO (FUNNY WORLD). It was the year of A FISTFUL OF DOLLARS, and yielded some inventive work from Morricone that included, EL GRECO, I MANIACI, IN GINOCCHIO DA TE and PRIMA DELLA RIVOLUZIONE the latter being directed by Bernardo Bertolucci. In my opinion I MALAMONDO was probably the most inventive score from that year, not including A FISTFUL OF DOLLARS. The composer creating mad cap sounds, frantic Bossa nova beats and luxurious sounding romantic themes. Even now when I listen to I MALAMONDO I find it entertaining, and although there is a kind of sixties pop vibe to the majority of the score, it is one that stands out within Morricone’s body of work for film, this was the beginning of the Morricone sound, the start of an age of film music that was to develop and progress and will endure for centuries. I MALAMONDO has so many highlight cues that it would be difficult to single out any as being superior to the other, we are treated to the attractive PENSO A TE with its inviting electric guitar solo, and the harmonious and haunting trumpet solo both of which are underlined with percussion and laced with strings to give it a romantic and endearing musical persona. The upbeat and richly percussive L’ULTIMA VOLTA, with choir and sprightly sounding organ, again laced with strings and punctuated by electric bass and vibrant piano with the core theme being manipulated and performed by electric guitar, which itself is supported by flyaway and wistful strings. This is the sixties sound of Ennio Morricone. Plus, the romantically led QUESTI VENT’ANNI MIEI and devastatingly affecting SOSPESI NEL CIELO. Which are both arrangements of the IL MALAMONDO central theme.


1965, showed no let up in the creative and fertile musical flow of Il Maestro, he worked on eighteen movies in this year, and aswell as two Ringo westerns, directed by Duccio Tessari and a second dollar film FOR A FEW DOLLARS MORE the composer also collaborated on BATTLE OF ALGIERS with Gillo Pontecorvo, and worked once again with Luciano Salce this time on SLALOM. The composer also scored HAWKS AND SPARROWS-UCCELLACCI E UCCELLINI for Pasolini. Which contained rather unusual main title and end title themes, where the credits were sung by Domenico Modugno. Inventive as always, the remainder of the score was certainly original, with certain phrases and nuances glimpsing through that we would hear many times in future scores.



I PUGNI IN TASCA or FISTS IN POCKETS is a powerful movie and Morricone’s atmospheric soundtrack assisted in creating many of the moods and atmospheres that were crucial to setting the scenes for this interesting drama. Directed by Marco Bellocchio, and starring Lou Castel, Paola Pitagora and Marino Mase. It was the first movie both written and directed by Bellocchio, and although I do refer to it as a drama, the film also has to it eerie and horrific attributes. Morricone’s score superbly underlines each and every one of the scenarios within the film and elevates them to a greater height giving them more impact, the haunting female voice that is underlined by sharp or jagged piano and harp which are in turn augmented by female choir, purveys a chilling and uneasy air.


Although only mid-way through the 1960’s Morricone had already established himself as a composer of great talent and also a composer that was able to adapt and fine tune his musical prowess to score any genre of movie. 1966 was a year that displayed this with the composer hitting new creative apex’s with his scores for THE GOOD THE BAD AND THE UGLY and SVEGLIATI E UCCIDI-WAKE UP AND DIE. The latter being a crime drama directed by Carlo Lizzani. It contained a strong score from the Maestro, and an infectious title song performed by Lisa Gastoni, which was given a handful of instrumental outings, each of which being fresh and innovative, with Morricone arranging and orchestrating them differently for maximum effect. The music is filled with driving and brooding thematic quality, the composer utilises breathy woods, electric guitar and bass, with solo trumpet featuring alongside pounding percussive elements and wordless female voice which is powerful and sensual. One of the highlight cues for me is UNA TROMBA A DALLAS, this incorporates pop driven guitar, percussion and choir which are a background to a stunning trumpet solo. This style of performance and composition was to become the mainstay of Morricone in later scores such as TEOREMA (1968) and VERGOGNA SCHIFOSI in the same year.


1967 had its moments, with Morricone working on GRAND SLAM, ESCALATION, GARDEN OF DELIGHTS, GRAZIE ZIA and many more, it was also in 1967 that Mario Bava brought to the screen, DANGER DIABOLIK, which starred John Philip Law, and contained the song DEEP DOWN. The film was pretty bad, I think even the Maestro would admit this too, but the music is better. With the composer serving up a fusion of dramatic and up-beat sounds, that at times were easy listening tinged with a rock or pop beat. Either way the music is far superior to the story being acted out on screen.




In 1968, Morricone penned twenty six film scores, it was the year of ONCE UPON A TIME IN THE WEST, GUNS FOR SAN SEBASTIAN, ECCO HOMO, EAT IT, HEART OF THE MOTHER, THE RED TENT,H25 and METTI UNA CERA A CENA- AKA- LOVE CIRCLE.  This more than any other Morricone score epitomises the sixties, it is a soundtrack that is literally overflowing with rich and vibrant themes, there are just so many, that it is hard to take in on one sitting.


Metti Una Sera A Cena CD OST-PK 014


The album was originally issued on Cinevox records, and subsequent other editions appeared in the UK, there was the version on CBS, which we are told contained vocals and choral work by The Mike Sammes Singers, after Jack Fishman wrote lyrics to the two central themes of Morricone’s now classic score, HURRY TO ME and FOOTSTEPS were released onto a single in 1969 in the UK, it is possibly one of the most listened to non-western Morricone albums, the opening theme being one that is now regarded as iconic and one which the Maestro always included in his concert performances of his film music. The original release and the score features, stunning performances from Edda Dell Orso and Il Cantori Moderni, with Alessandro Alessandroni providing a flawless Sytar performance. The film is an erotic drama, or art house sex romp that is stylish and polished. Directed by Guiseppe Patroni Griffi it focuses upon glamourous individuals, the perfect people, who are dressed in high fashion and take part in perverse sexual encounters to satisfy their needs. With the storyline circulating around a writer who has become famous played by Jean Louis Trintignant, who fantasises about his wife (Florinda Bolkan) having an affair with his bi-sexual friend (Tony Mustante). What Trintignant does not know is that his wife and friend have been having an affair for years and have enlisted a third party for their illicit sexual adventures, an actor and a poet played by Lino Capolicchio who at times makes love to Florinda Bolkan in a dark but luxurious basement draped under a Nazi Swastika. Morricone’s score is sublime, it is flawlessly beautiful and perfectly uplifting.


Another score from Il Maestro in the same year was VERGOGNA SCHIFOSI or DIRTY ANGELS, which was an unusual but compelling movie, and contained a uniquely inventive soundtrack.  With wordless vocals provided by the wonderous soprano Edda and catchy and upbeat choral work by Il Cantori Moderni, this is a score that is bursting with melodious excellence, it is superbly luxurious and richly thematic and probably amongst the Maestros, top ten film scores, but classic FM, Will never admit this. 1969, was one of the composers most fruitful years as far as innovative and inventive goes, those two words we use a lot when discussing Morricone, but how else does one describe his prolific output and his abundance in talent. Just a glance at the composer’s credits for 1969, and one instinctively knows that there are more iconic scores in this twelve-month period than probably any other within his career. Titles such as, INVESTIGATION OF A CITIZEN ABOVE SUSPICION, GOTT MITT UNS, QUEIMADA, THE SICILIAN CLAN, METELLO, A BRIEF SEASON, LADONNE INVISIBILE, I CANNIBALI among them.

Investigation Of A Citizen Above Suspicion (Indagine Su Un Cittadino Al Di Sopra Di Ogni Sospetto) (1970) [Ennio Morricone]


I remember seeing INVESTIGATION OF A CITIZEN ABOVE SUSPICION on TV in the UK on BBC2, and straight away was drawn in by not just the images that were appearing under the opening credits but the music, Morricone’s uneven but at the same time haunting theme adding atmosphere and setting the mood before an actor had come onto the screen or one word of dialogue had been spoken. The scene where Gian Maria Volonte who is Rome’s chief murder investigator plants clues at a murder scene, is scored with the central theme or at least an arrangement of it, which in a musical way explains the sequence, it also underlines, punctuates and supports, adding to it a sense of apprehension, and also seems to allow us a little glimpse into the mind of Volonte’s character.  The inspector portrayed by Volonte is due to be promoted, and on the eve of this promotion he pays a visit to his mistress played by Florinda Bolkan, and whilst there, murders her by cutting her throat, he then goes about purposely planting clues that are linked to him, his theory being that he is far too important to be even considered as the murderer even though all the clues point to him. His idea that he is too powerful to even be challenged and above all suspicion. And even though he plants so many clues they are ignored, and another man is wrongly accused for the murder. Directed by Elio Petri, this is a film that once started cannot be stopped or interrupted, the acting, photography, Direction and music work together and bring to the screen something that is not just entertaining but thought provoking. 1969 also gave us the soundtrack for the French crime film THE SICILIAN CLAN, Morricone’s score is yet another example of a soundtrack that can be enjoyed in the movie and also just as much away from the images, the simple but effective four and five note motif that the composer utilises is a stroke of genius, so simple yet so haunting.


The inclusion of the jaws or Jews harp puts a distinct sounding slant on the proceedings, the score is basically made up of themes for the central characters within the movie and works incredibly well. The movie directed by Henri Verneuil, is probably not one of the film makers greatest but the plot moves along at a brisk pace and keeps the audience focused. Morricone bases his score upon what is called the ITALIAN THEME, and this can be heard at various stages of the movie and appears in a number of varying arrangements, the most prominent being as the films Main theme, performed on piano that is joined by electric guitar and given a brisk but not too fast percussive backing, the four then five note motif establishing itself before being enhanced further by the string section, which play a counter melody creating a stunning and somewhat romantic sounding theme.


The remainder of the score is a triumph of thematic writing, every track every composition, is outstanding. The work features atmospheric whistling from Allessandro Alessandroni, and has to it an upbeat but dramatic feel, again one of his best.




QUEIMADA is a movie from director Gillo Pontecorvo, it was thought by many to be based upon true historical events, but in fact it is a totally fictitious story. The film starred Marlon Brando, and Morricone’s score is an epic and at times unconventional work.



Again, the score supported as well as evoking a higher level of atmosphere within the movie, at times the music creating the various moods within the film and relaying the sense of elitist imperialism and the desperation of the inhabitants of the island. When the movie was released in the UK it received very mixed reactions, most of which were negative, this was partly due to the way in which the film had been edited, the story appearing as disjointed, and having no fluidity because of numerous unsympathetic cuts.

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So, we have explored a handful of the Maestro’s soundtracks and the movies he penned them for. In part three we will explore further the music he composed for movies in the 1970, s and also look at his music for the 1980.s. Taking into account his then ongoing partnership, friendship and collaboration with Sergio Leone on ONCE UPON A TIME IN AMERICA and also looking at his work with Brian De Palma and Roland Joffe on films such as THE UNTOUCHABLES, CASUALTIES OF WAR,THE MISSION, VATEL, AND CITY OF JOY. Also, his blissful and evergreen collaborations with Guiseppe Tornatore will be explored, with scores for films such as CINEMA PARADISO, L’UOMO DELLE STELLE, THE LEGEND OF THE PIANIST, MALENA, and THE CORRESPONDENT. Plus, THE THING with John Carpenter.


(C) John Mansell 2020. 



Some interesting scores around at the moment, some from this year others that maybe were overlooked or got away from a year or two ago. We start soundtrack supplement eight with a score that attracted me straight away on hearing its end credits theme. GLOOMY EYES is a 2020 release, and has a highly original musical score by Cyrille Marchesseau, it is one of those soundtracks or movies that maybe you look at and say, “I will listen to or watch that later I think”. My advice is do not do that, listen to it straight away and if you can take a look at the film too. This is an award-winning VR experience that pairs the virtual reality effect with surreal animation that has to it a dark persona and black humour. The characters are very much presented in the style of the animated movies of director Tim Burton, such as NIGHTMARE BEFORE CHRISTMAS. The look of the movie is weirdly attractive, and its storyline is also a compelling one. Set in 1983, when the sun decides that it will hide-away. Never to shine it’s light upon the earth or allow it’s warmth to touch the land because of the uncaring ways and the idiocy of humans (sound familiar?). As the darkness envelopes the world zombies start to emerge from their graves and soon a war erupts between the living and the dead. Because the world is devoid of light the walking dead seek out the living with one aim in mind. But a zombie boy called Gloomy and a mortal girl called Nena meet and fall in love against all the odds, their romance blossoming amongst all the confusion and mayhem. Gloomy however does not realise that Nena is the niece of one of the most feared Zombie hunters. The film I guess is a highly irreverent but effective look at the relationships that maybe could take place between Humans and Zombies, if there were such a thing as Zombies that is, it kind of takes the classic story of Romeo and Juliet as its inspiration but puts a whole new twist upon it to great effect. The musical score is in my opinion an accomplished one, the composer combining both symphonic and synthetic elements to fashion a work that is overflowing with themes and teaming with haunting nuances. To say that the soundtrack is inventive I feel would be an understatement, from what I can make out there are three episodes of GLOOMY EYES running for approx 30 mins in length each episode follows on from the other until the trilogy reaches its conclusion. The music that has been released has a running time of 51 mins, o I am assuming this is the music from all three of the short films. Within that time the listener will I know be totally immersed in a musical ocean that is filled to bursting with innovative, emotive, and effecting compositions.


There are a handful of tracks that are narrated by Colin Farrell which set out the story to the listener and also explain the settings and scenarios to te audience, which have been underscored sympathetically with the composer adding depth and atmosphere without being over intrusive. I love the sound that he has created here and also adore the quirky darkness that is purveyed within his music, the synthesised choral effects are mysterious and unsettling and the composer puts this uneasy style and sound to effective use within the score. At times one could I suppose remark that it does have to it an Elman-esque persona, but at other times the score is not comparable with any other composers work because of its stunning originality. Check it out, available on most digital platforms.


AMERICAN BISTRO, is a 2019 release, and tells the story of an accountant who is quite successful, but his world falls apart when he discovers his wife has been having an affair with his boss. To deal with the shock of this discovery and also to help him recover he decides to open a restaurant with a family member who he has not had anything to do with for a long time but convinces him it’s the right thing to do. The music is by Avery Kentis, and I have to say that it is a delightful and a surprisingly good score. I say surprisingly because I really did not have any idea that a movie about an accountant opening a restaurant would inspire a composer to write so eloquently and fashion so many emotive and heart-rending themes. The music is sensitive and also highly expressive, solo piano is the main foundation of the score and the composer builds upon this solid but poignant base and adds textures, colours and humorous little nuances and slightly eccentric thematic material to bring to fruition a classy and also an entertaining work that at times evokes memories of the breathy and romantic style of composer John Barry. The light and subdued sounding interludes are touching and calming, having to them a real sense of warmth and an abundance of melancholy. Lovely score, well worth a listen. Kentis, scored a movie back in 2018 entitled INCONTROL which although totally different stylistically to AMERICAN BISTRO is also worth seeking out.

THE SCOUT was a short film released in 2013, the score by Andrew Morgan Smith, is one that I am glad has now been released, obviously because the film was a short the music also has a brief duration, but what it lacks in running time it more than makes up for in musical quality. A group of scouts set out on a hunt for a creature called the Snipe, but it soon becomes apparent to the scouts and to the watching audience that it is not the Snipe that is being hunted. But the creature is hunting the scouts. The movie I felt was a homage to eighties family movies such as THE MONSTER SQUAD or even THE GOONIES, but also had to it a certain element of horror and had the style of THE LOST BOYS in places. It purveys that sort of vibe, admittedly on a smaller scale, but it is one of the most entertaining shorts I have seen in a little while.

The musical score by Andrew Morgan Smith is too a wonderfully uplifting and fun packed work, the composer creating, comedic and jaunty sections plus, layers of tense and apprehensive interludes that contain a style that one would ordinarily associate with John Williams, Elmer Bernstein or Jerry Goldsmith. It’s a soundtrack that I am certain you will return to many times, vibrant and busy with catchy thematic properties, the composer gives us a score for a film that was produced in the 21st century which has a musical style that we associate with the silver age of film music, brilliant and highly entertaining. Do not forget to also check out his soundtrack releases such as JEEPERS CREEPERS THREE, YOU MIGHT BE THE KILLER and THE CULLING all of which are available on Spotify and other digital platforms.

So, from score to a short movie to one from a TV series on Netflix, THE WITCHER has been getting some good reaction as has the soundtrack, a double CD has been released and it contains over fifty tracks and runs for some three hours. If nothing else I guess you get your money’s worth here. But seriously this is a good soundtrack, and one which I have to say I enjoyed, I think mainly because of the variation of styles included and the diversity of the musical approaches and sounds that are within it. At times it is harsh and almost rock infused with other tracks containing a near Morricone western Operatic aura. The music is credited to two composers on this edition of the soundtrack, Sonya Belousova and Giona Ostinelli although many of the tracks feature soloists or vocalists and they each receive individual credits, three hours of music is a lot to go through all at once, so I spread this out over a week or so, which I found was better as I was able to digest it and appreciate it a lot more.

I would not say it’s a score that everyone will take a shine too, and for me it works a lot better in the series than it does on its own but remember that’s just a personal opinion, and after all it is film or in this case TV music. It is a fusion of instrumental as in the more conventional sounds of an orchestra and electronic, rock and vocals, its an interesting listen and at times does reach highs in the department of being inventive and innovative. Check it out see what you think.

Now to four high powered and upbeat sounding soundtracks from the pen of composer Anthony Chue. L AND P STORM (thats two movies) and Z AND S STORM (another two movies), all four scores have to them a real commanding and totally high-octane sound. A mix of symphonic and synthetic instrumentation which the composer blends together seamlessly and to maximum effect, in my mind these two soundtracks are every bit as good as say the MISSION IMPOSSIBLE scores as presented by the likes of Elfman, Giacchino, Balfe and Zimmer.



Chue, creates a relentless and fast paced style for both of the movies and amongst all the unrelenting percussion, electronic support, brass and high velocity strings there are also present some really solid themes that at times have a Barry-esque style, these two scores could easily be for a Bond movie, they have that action, bombastic style and it’s a style and overall sound that keeps one interested and also wanting more throughout. Both releases are well worth investigating and are available digitally on most digital platforms via Plaza Mayor music.

Dan Jones is a multi-award winning composer of film and TV music, aswell as writing scores for movies etc, Jones also does sound design and has written music for the theatre as well as being involved with the development of some early items of software. Much of his music is released on his own recording label, WORLD ON FIRE being one of the more recent additions to that.



WORLD ON FIRE was a gripping and interesting series that was screened on the BBC back in 2019. It was met with positive reaction and a second series we are told is in the works at the moment. Dan Jones created a sensitive and emotive soundtrack for the series, which was for the most part rather low key, but it served the series well and on listening to the work just as music remains a touching and rewarding experience, I thought that I would include the score here because I felt it was an accomplished work when I saw the series, and am pleased that the music is now available for collectors to listen to.

It is a lengthy work, running for nearly an hour, but it is one of those soundtracks that whilst listening to it, one is transported back to certain moments within the series, it is affecting and at times mesmeric, the composer using simple but effective thematic ideas that he develops and builds throughout the work, RESISTANCE for example is apprehensive, threatening and also oozes with an atmosphere that can be foreboding. Percussive elements and strings combine alongside brass and synthesised support, to fashion a piece that supports the sequence within the series but also entertains away from that scenario. There are also several lighter less urgent interludes within the score, BROTHER, SISTER for instance, is a much more relaxed composition, but t the same time still manages to hold under the surface a sense of danger. Certainly, a score to check out, again this and a few other soundtracks by Dan Jones are available on digital platforms. THE MINIARTURIST being one of them which is something you should listen to as soon as possible.