MICHELE STROGOFF- IL CORRIERE DELLO ZAR (SLEEVE NOTES)

Released on Kronos Records July 2016.

 

 

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

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

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

John Mansell. Movie Music International/IFMCA.

MICHAEL STROGOFF 1999(TV SERIES).

The story of MICHAEL STROGOFF is a popular one and also is a tale that has been committed to celluloid on more than 30 occasions either as a television project, a silent movie or as a feature film, the first of these was a silent version produced in 1914 and was made in The United States. Based on the novel from 1876 by Jules Verne, it is a tale of high adventure, filled with action, drama and romance. The book when first published was hailed as the best story that Verne had written. The musical score for this particular incarnation of the story (1999) is every bit as adventurous, exciting, fast paced and dramatic as the storyline itself. The soundtrack is filled to overflowing with haunting melodies, fearsome action cues literally is brimming with affecting leitmotifs and thematic properties that accompany the main protagonists as the story unfolds and develops. Monsignor, Scholar and composer Marco Frisina’s score is an epic sounding work, which is grandiose and robust but also has the ability to become intimate and melancholy, it posses a fragility and also a emotive side that is attractive, poignant and powerful. Frisina was Born in Rome in 1954, he studied music at the Conservatory of Saint Cecilia and was ordained as a Priest in 1982.

He has scored numerous TV and feature film productions and written Oratorios, Masses and Hymns for the Vatican, during his career he has collaborated with a number of high profile artists, Ennio Morricone being one of these.
The Maestro provides the production with a lush and imposing score that at certain points within the proceedings evokes the Style and the atmosphere of the vintage movie soundtracks of Hollywood, by this I mean it has real themes and is beautifully crafted and orchestrated.
The opening theme for example is a rousing, strident and proud piece, written for brass and strings that are underlined rumbling percussion which when combined set the scene perfectly for much of what is to follow. Frisina’s theme for the marauding Tartars is also an impressive one and includes driving strings that are embellished by percussive elements and timpani and driven on even harder by the utilisation of wild brass and wistful sounding woodwind that are punctuated and given more vigour and impact by crashing cymbals, the composer creating an urgent and unmerciful sounding piece that seems to be relentless. Then we have the theme for Strogoff’s wife NADIA which is a text book Frisina sounding composition if indeed there is such a thing, a delicate and gorgeously alluring melody is carried by the string section and underlined and enhanced by lilting woodwind and harp, mid way through the piece there is a stunning guitar solo that picks out the core theme and adds a atmosphere of calm before the cue then changes its mood and direction becoming less melodious and adopting a more sinister and slightly threatening persona which is purveyed by sinewy strings and ominous and apprehensive woodwind. Frisina’s soundtrack is somewhat different to what we have become accustomed to from the composer, yes there are a number of striking thematic moments present but it also brings into focus the darker elements and a greater sense of foreboding in places and an there is an underlying ambience that can be likened to certain scores from Eastern Europe by the likes of Kilar for example. The composer utilises the Balalaika at times which reminds one of the sound that is achieved by Maurice Jarre in Dr Zhivago, predictable ? Maybe, but affective, there are so many themes and addictively melodious passages within the work it is hard to take them all in on first hearing the score. The composer makes effective use of a number of solo instruments throughout the work to bring forth a richness and a lavishly emotive sound which invades ones subconscious.

This is demonstrated perfectly in track number 6, CANTO TZIGANO, a mesmerising solo viola is accompanied by woodwind and then gradually given support by the full string section treating us to a stunning and totally absorbing piece. Track number 8 NEL CUORE DI MICHELE is also a standout cue, Frisina again turning to the solo guitar theme which we heard briefly within NADIA,S THEME, this time however it is accompanied by romantically laced strings with the support of subdued percussion.

The music has up until now only been available digitally as a download, this edition released by Kronos records being the first actual compact disc release of the score. So it’s a score that you should really add to your collection. This is an exclusive review and will be released by Kronos records very soon.

CHRISTUS-MARCO FRISINA.

I think that the two genres of movie that are most difficult to write music for must be comedy and also religious stories. it’s a fine line the composer treads at times especially with Biblically slanted tales, does he or she go all out and create a overly symphonic and celestial sound and risk swamping the key scenes with a veritable flood of music or do they go down the more subdued and delicate route? Either way music in religious movies has to be just so or the composer risks becoming over the top engaging a multitude of heavenly voices supported by tumultuous brass and stirring strings only for these to work against the storyline because it is just to full on. We all know that there are any religious films or films based on the Bible and stories that are from the Holy land that have been scored perfectly, the composers in question such as Rosza, Newman, Debney etc writing music that not only supports and enhances but ingratiates each and every scene and frame and getting the balance correct. BEN HUR, THE GREATEST STORY EVER TOLD, THE ROBE, PASSION OF THE CHRIST, and their like being prime and perfect examples of music working wonderfully for the movie and also working as an entity on its own away from any images. Composer Marco Frisina, is I have to admit one of the very few composers in recent years that I have heard that manages to get the formula and the mix right on every occasion, his rich and deeply emotive themes becoming an extension of the films that he has scored and also becoming another part of the story that is unfolding on screen giving each character and each scenario greater depth and dimension. CHRISTUS (1916) is for me one of Frisina’s most spiritual and emotionally poignant soundtracks, it is not only uplifting and filled with a fragility that comes from delicate tone poems that delight and haunt the listener but it also has to it a beauty and a celestial magnificence which is created by the composers utilization of a large string section that underlines and also leads within the perimeters of the score. Choir too is present which is embellished by the use of rumbling percussion which can either be fearsome or a precursor and announcement of a miracle or something beguiling the percussion combined with proud brass flourishes at times creates an aura and mood that is deeply moving. CHRISTUS is a silent movie so the score is more or less continuous the composer punctuating and supporting proceedings with an ever present musical background, but it is more than just a musical wallpaper that runs throughout the duration of the movie, it brings a freshness and new life to an already classic motion picture. The score has never been released on disc before, it was released as a digital recording but now at last Kronos records have issued the score for collectors, it is a soundtrack that will truly entertain and inspire you, a score that will make you sit up and listen and also one that you will return to many times.

It is one of those rare moments in film music where you feel a deep connection with the film which is made even stronger because of the music, I know you will love it as I do. Lets hope that Kronos will release more of the film works of Marco Frisina soon. CHRISTUS the score is overflowing with an attractive and magnificent sound that enhances the images on screen but never becomes overpowering. Recommended.

CHRISTUS (1916).

Sleeve notes for the Kronos records release of CHRISTUS Music by Marco Frisina.

The film CHRISTUS was released in 1916, it is a silent movie which tells the story of the life of Christ from the Virgin Mary’s visit from the angels telling of his coming, to his birth and through his early life and onto to his betrayal by Judas, the crucifixion and his resurrection and his ascension to the Kingdom of Heaven. The film is divided into three segments which are referred to as mysteries. The first of these includes the birth of Jesus, the Magi, Herod and the slaughter of the innocents, the escape to Egypt and Pilate. The second part takes in the preaching of the Jordan, the expulsion of the merchants from the Temple, the adulteress and his entry into Jerusalem. The third Mystery, is itself then divided into three separate parts, which are The Passion, The Death and The Resurrection.

It is a stunning and emotive motion picture which I found difficult to stop watching. Directed by Giulio Antamoro and Enrico Guazzoni (unaccredited, after he was brought into the production to re-shoot certain scenes), Guazzoni was no stranger to Biblically slanted movies as it was he who worked on the 1912 version of QUO VADIS. Antamoro also co wrote/adapted the story for CHRISTUS collaborating with Ignazio Lupi, the film is I suppose a general telling of the Messiah’s life and deals with all the major occurrences that are told of in the Bible.

The picture contains some interesting special effects which were in their infancy at the time of the films production, and these were by all accounts greatly appreciated by audiences who were astounded at the use of them having not seen their like before. One scene which stands out for me personally is the sequence where we see Judas being haunted by a horned spectre like figure which could either be seen as Lucifer tempting and coercing him or even his own conscious haunting him the figure manifests itself on three occasions to Judas, the final time is when we see the disciple hang himself and the earth opens below him revealing the fires of hell, either way the effect is superbly carried out and convincingly purveyed. The other thought provoking thing is that the star of Bethlehem is shown clearly as not a star at all, but as a comet, which could I suppose be conceived as Halley’s comet which reappears at certain times in world history. Also during the period when Jesus spends time in Egypt during his early life we can clearly see the SHPINX which at the time of the films production had still not yet been fully uncovered.

The crucifixion scene is also impressively filmed as is the sequence leading up to it where we see Jesus carrying his own cross through the streets being mocked as the King of the Jews a crown of thorns spitefully pushed onto his head and being pushed and flogged by his escort and jeered at by the watching crowds.

CHRISTUS was beset by problems after filming and although production began in 1914 the film did not receive its premiere until 1916, this was due to sections of the film being damaged and made unwatchable during the editing stage. The version of CHRISTUS that we see today was restored by the renowned Titanus films founder Goffredo Lombardo who made it a labour of love because it was his Mother who took the role of the Virgin Mary in the movie. The film was shown at the 57th Venice Film Festival with the soundtrack being adapted for live performance on two pianos. The musical score for the movie which was added in 1999 is the work of acclaimed Italian composer, scholar and Monsignor Marco Frisina. The Maestro has fashioned a work that is filled with celestial magnificence, highly emotive and inspiring thematic material and plaintive and poignant passages which are embellished and complimented by dramatic and powerful compositions.

Being a silent movie the music is almost continuous and adds much to the dramatic and emotional content of the motion picture, written for large orchestra and choir the composer has provided the film with a work that is not simply a musical wallpaper or background it is an important and vitally integral part of the story telling process and not only underlines and supports the images but acts as another component expressing to audiences the emotion the melancholy and also the powerful fearsome and foreboding elements that are required for such a story. The composer also utilised a style not dissimilar to the ancient Gregorian Chant repertoire for certain scenes and sequences which added another dimension to the proceedings and further underlined the deep spiritual ambience of the film and story.

MARCO FRISINA.

Frisina is no stranger to scoring movies and has written numerous scores for films that have a religious content, but he is also responsible for scoring an equal amount that have storylines which are removed from the religious world. The composer also writes music which is not confined to the restrictions of motion pictures and television his credits include music especially composed for the Vatican that include Operas, Oratorio’s, Masses, songs, hymns and recordings dedicated to Saints and Pontiffs. He has also collaborated with many artists most notably Ennio Morricone on film and television soundtracks.

Frisina was born in Rome in 1954, at the age of 11 taught himself to read music as well as playing the piano and composition. He studied at the Conservatory at Saint Cecilia, and was awarded diplomas in conducting, piano and composition. He completed his theological studies at the Pontifical Gregorian University and earned a certificate in Sacred Scripture from the Pontifical Biblical institute. He was ordained as a Priest on April 24th 1982. This is the first time that the music for CHRISTUS has been issued on a compact disc, and is an important release and one that I hope will be the first of many of Frisina’s works to be released on the Kronos records label.

John Mansell © 2016. Movie Music International. IFMCA.

ALBA ROMANA-UN OMAGGIO A ROMA.

There are many composers who write for the cinema and television that are so talented but still seem to be overlooked by many within the industry and also by film music aficionados. I think that Marco Frisina is one such composer. Frisina has written numerous scores for movies and also television productions within Italy and of course because of his connections with THE VATICAN has also written a great deal of religious music. But it is his film and television music that attracts me the most although saying this I have found myself listening to his non cinematic works and becoming completely transfixed by his haunting melodies and moving compositions. My first recording of his was ALBA ROMANA-un omaggio a Roma. It was something of an awakening for me as I have to say I had not been aware of his music up until that time, I had returned from a trip to Rome and was somewhat mesmerised by the eternal city, plus it was at a time in my life that I found myself at a crossroads of sorts not knowing which way to go. I was given the recording and on the first listen found myself completely overtaken with so many emotions, the music washed over me and in fact it reminded me of my short but beautiful time in Rome. As I listened to the beguiling melodies I remembered the Spanish steps, The Trevi fountain, Trastavere, The tomb of the Unknown soldier, The Colosseum, The Roman Forum and Circus and of course the ultimate site of The Vatican which I found both inspiring and powerful. This hustling and busy city which can become a tranquil and soothing haven simply by turning down a side street into a piazza that contains a small church and a fountain is one of the greatest places in the world. Frisina’s touching and delicate music conjures up perfectly a city that has so many faces so many persona’s and such a vitality and at the same time posses a serenity that I do not think you would find anywhere else on earth.

MARCO FRISINA.

The music for ALBA ROMANA is in a word stunning, the composer wrote a score that was brimming with lilting and rich melodies, majestic passages, romantic pieces and proud and celestial sounding cues, it is one of those works that one can just pop into the player and leave it never touching it, never skipping any tracks, just sitting and listening will enrich and reward you no end. Fully symphonic, with choir, solo vocals by Paola Cicchi, guitar solos, organ, strings and brass supported by percussion and also heartrending cello and viola solos that are affecting and mesmerising and I can only describe the performances as being painful in a nice way because there is so much emotion within them, this is a work that every one should have, it is a recording that will open many emotions within you, maybe also it will like it did me rekindle bittersweet memories that bring both happiness and hurt and bring a tear to the eye.