Tag Archives: Andrea Morricone


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Composer Andrea Morricone, is in my very humble opinion probably one of the worlds most undervalued composers of music for film. Of course, when one has such a high-profile Father who is also a composer it must be difficult to gain respect and establish one’s self and style of composition. Andrea Morricone however, has managed to do this and has written numerous film scores in his own right as a film music Maestro. At times there are certain similarities between his style and sound and his Fathers, but when your Father is Ennio Morricone it must be difficult for certain composing, arranging and orchestration quirks not to influence or rub off on you. The score for RAUL DIRETTO DI UCCIDERE, is for me a delight and joy to listen to, it not only evokes memories of Italian film music of the 1960’s and 1970’s but also has to it an originality and sound that is contemporary, vibrant and innovative. The score for the 2005 thriller, is filled with dark and apprehensive passages, the composer utilising brass, woodwind, low strings and scatterings of percussion throughout to fashion a sense of foreboding and uneasy atmospheres. There is an underlying sombre sound to the score, but the composer does on occasion lighten this with the introduction of haunting and gracious sounding themes, the majority of the work is symphonic, the composer introducing electronic support at key points within the work to create the correct ambience. The score opens with the captivating piece entitled UN AMORE ETERNO, performed in the main by woodwind and strings, the theme can be at times likened to LA CALIFFA or PER AMORE which were popular scores during the 1970’s for Ennio Morricone, the composer also utilises solo piano and clarinet which are both enhanced by the use of warm and inviting strings, it is hard at times not to compare the work of Andrea with that of his Father, but although the score does contain certain stylistic similarities the style and individual sound of Andrea does shine through. The second cue DIRETTO DI UCCIDERE, which is the theme for the movie, is very different from its predecessor, it has a forceful but somewhat awkward sound initially, but soon moves into a forthright and dramatic piece, again with the string section being utilised and supported by brass and percussion which are both punctuated and underlined further by synthetics, these electronic sounds create an atmosphere that is filled with menace and fearfulness. This mood is carried over into track number three, PER NON LACIAR SOSPETTI, further establishing itself, and becoming more malevolent in its sound and stature. In cue number four, AMORE E MORTE we have the return of a more romantic style, although this is still edged and tinged throughout with an atmosphere that is uncertain and apprehensive.


The movie RAUL-DIRETTO DI UCCIDERE, was released in 2005, directed by Andrea Bolognini, it soon gained much critical acclaim and was awarded the prize for best film at the BAFF film festival. Andrea Morricone’s atmospheric score, also attracted much attention and was nominated for the Italian equivalent of the Golden Globes. Andrea Morricone was born on October 10th, 1964. At the age of 14, Andrea had made up his mind that it was music he wanted to make a career out of, following in the footsteps of his Father Ennio. He studied at the Santa Cecilia Conservatory in Rome and graduated with a diploma in composition, at the age of 30. He then continued to study and in 1996 was successful in earning a master’s Degree in orchestral conducting. After this he continued to study and spent the next 2 years or so at THE NATIONAL ACADEMY OF ST. CECILIA in Rome, where he was guided by Franco Donatoni and Azio Corghi and graduated with a master’s degree in composition. Andrea also studied under, Ivan Fedele, Ada Gentile and Irma Ravinale. Morricone, has written the scores for numerous movies and TV projects, he has also conducted some of the worlds most respected orchestras. His composing skills are not however confined to the world of cinema and television, he is a talented and innovative classical music composer, writing for chamber and orchestral ensembles. His music for film has touched many, and it is true to say that his lilting and haunting theme for CINEMA PARADISO is still his most well-known piece and one for which he and his Father received the BAFTA award for best original score, he also won a Golden Globe in 2012 for his work on L’INDUSTRIALE.

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Back to 2014 for this score, from the RAI-TV series LA DONNE DELLA DOMENICA, which I assume is a remake of the movie of the same name that was released in 1975. The music for the original motion picture was the work of Maestro Ennio Morricone and its haunting and fully melodic themes are more than familiar to fans of the Italian musical genius. So, I suppose it is only fitting that Morricone’s Son Andrea should score the retelling of the story. Andrea’s score is just as melodic and haunting as his Fathers music for the previous cinematic version, the score containing numerous themes and motifs that are not only romantically lush but memorable. It is at times quite classical in its overall sound and style, then at other moments it becomes a more contemporary sounding work with the composer adding percussion and other upbeat support. Andrea Morricone for me is a great composer, his gift for melody and his ability to adapt to each genre of film he works on is stunning, and yields results and musical creations that are breathtakingly beautiful. This score I would say is one of his best, as I have said the thematic content is  abundant and keeps the listener immersed in a sea of rich and tuneful compositions. Within the score one can hear little references that are not dissimilar to a style that was created by his Father back in the 1960, s and the 1970, s, but at the same time there is also present a style and a sound that is all his own making,  which we heard in his scores for LIBERTY HEIGHTS etc, the orchestration is ingeniously done, brass and strings complimenting each other   with harpsichord adding support and woods also giving support and adding texture and colour to the proceedings. It is a score from the year 2014, but its sound and quality cry out that it should be from the late 1960, s. This is a refreshing and wonderful listen and a soundtrack that I recommend highly.

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Looking back a few years its just a personal opinion but I think that Andrea Morricone’s musical score for Barry Levinson’s LIBERTY HEIGHTS is probably one of the most underrated and overlooked works for cinema but at the same time is one of the most emotive and accomplished. Yes it contains many of the touches and quirks of instrumentation that we associate with Maestro Morricone senior, but it also has within its framework a sound and style that is undeniably original. Its plaintive and delicate sounding central theme acts as a firm foundation for the remainder of the score and is not a million miles away from the sound that Andrea achieved in his haunting theme for CINEMA PARADISO, piano, flute and strings being the primary instrumentation with the composer adding later heartfelt violin and viola and a lilting guitar solo to great affect.

Andrea Morricone.
Andrea Morricone.

This is a haunting and wonderfully affecting soundtrack that displays perfectly the artistry of Morricone Jnr and shows us that he is more than capable of establishing his own identity and musical fingerprint. There are also gentle nods in the direction of composers who have played a major part in creating the sound of Italian cinema such as Nino Rota with a melancholy sounding violin performing a theme that would not be out of place in say Zefferelli’s ROMEO AND JULIET or Fellini,s LA STRADA. The themes within the score are many and varying and combine to create one of the most melodic and stunning film scores from the latter part of the 1990,s. Every track on the release is a joy to listen to, every cue filled to overflowing with emotion and brimming with sensitive thematic material, we hear echoes of ONCE UPON A TIME IN THE WEST and AMERICA and short fleeting references to other classic themes. The movie too was noteworthy with director Barry Levison helming it with much conviction and obtaining solid performances from its cast. Set in the 1950,s in an America where things were changing this dramatic comedy is an appealing and convincing account of Baltimore in 1954 where school desegregation was beginning to happen and rock and roll music also started to rear its head to the annoyance of the older generation. Andrea Morricone provides the movie with a poignant and beautifully delicate musical touch that enhances and supports without ever being intrusive but at the same time manages to elevate and underline each and every one of its scenes and situations. If you missed this one, its about time you tracked down a copy and just immerse yourself in its affecting and highly melodious content.