English-->engmus-000-->engmius-016-020 |
Same
CN |
A
catalog of Morricone's music mus-016 -->
mus-020
mus-016
"L'ASSOLUTO
NATYRALE"--1969
|
69-21-official
|
Relative movie
|
|
Note
|
|
|
Only
20 Kbps low bit rate was provided for personal enjoy
here
|
|
|
|
|
NO.
|
NAME
|
WMA
|
|
001
|
L'ASSOLUTO
NATURALE
|
|
002
|
SEMPRE
PIU' VERITA
|
|
003
|
E' FACILE
|
|
004
|
SEMBRAVI
DESIDERARE
|
|
005
|
AMARE ASSOLUTAMENTE
|
|
006
|
IMPARARE
A CONOSCERE
|
|
|
mus-017
"Metello"--1969
|
70-10
|
Relative movie
|
|
Note
|
|
|
|
001
|
METELLO
|
|
|
002
|
TEMA SCIOPERO
|
|
003
|
PIANINO
NELLA STRADA
|
|
004
|
METELLO
|
|
005
|
TEMA SCIOPERO
|
|
006
|
METELLO
|
|
007
|
TEMA SCIOPERO
|
|
008
|
L'ARRIVO
DEL RE
|
|
009
|
LA NAJA
|
|
010
|
METELLO
|
|
|
mus-018
"Sicilian
clan"--1969
|
69-10-official
|
Relative movie
|
|
Note
|
|
|
|
001
|
ITALIAN
THEME
|
|
|
002
|
SNACK BAR
|
|
003
|
THE JEWEL
SHOW
|
|
004
|
DIALOGUE
NO.1
|
|
005
|
JEANNE
ON THE BEACH
|
|
006
|
DIALOGUE
NO.2
|
|
007
|
LEGOFF'S
THEME
|
|
008
|
GANSTER'S
THEME
|
|
009
|
ITALIAN
THEME
|
|
010
|
THE STAMPS
|
|
011
|
FINALE
|
|
|
mus-019
"Vamos
a mater conpaneros"--1970
|
70-03-official
|
Relative movie
|
|
Note
|
|
|
|
|
001
|
IL PINGUINO
|
|
|
002
|
VAMOS A
MATER COMPANEROS (TITOLI)
|
|
003
|
LA MESSICANA
|
|
004
|
LA LORO
PATRIA
|
|
005
|
UN UOMO
IN AGGUATO
|
|
006
|
PENSANDO
ALLA LIBERTA'
|
|
007
|
CECCHINO
|
|
008
|
IL PINGUINBO
|
|
|
mus-020
"La
califfa"--1970
|
70-14-official
|
Relative movie
|
|
Note
|
|
|
|
001
|
SANGUE
SULL' ASFALTO
|
|
|
002
|
LA CALIFFA
|
|
003
|
REQUIEM
PER UN OPERAIO
|
|
004
|
SOTTO LA
PIOGGIA
|
|
005
|
LE DONNE
AL FIUME
|
|
006
|
LA PACE
INTERIORE
|
|
007
|
DENTRO
LA MACCHINA
|
|
008
|
ADDIO ALLA
FABBRICA
|
|
009
|
RICORDO
DI UN AMICO
|
|
010
|
LE DONNE
AL FIUME
|
|
011
|
LA CENA
|
|
012
|
NOTTURNO
|
|
013
|
LA DONNA
E LA CAMPAGNA
|
|
014
|
PRIMA E
DOPO L'AMORE
|
|
015
|
GELO E
DISPREZO
|
|
016
|
TRITTICO
PER ORGANO
|
|
017
|
FARI NELLA
NOTTE
|
|
018
|
L'IMPATTO
|
|
019
|
LA PACE
INTERIORE
|
|
020
|
LA DONNA
E LA GENTA
|
|
021
|
ADDIO ALLA
FABBRICA
|
|
022
|
LA CALIFFA(SUITE)
|
|
023
|
FINALE
|
|
The
VIP member special area has been opened in 2011
|
To
meet the Morricone fans's requirement that In-depth study
the series of works of the great master Ennio Morricone
|
Providing
complete summary and play in online of the OST and the flms
of 401 official works of Ennio Morricne
|
|
Morricone
soundtracks resource library (Total
5596 tracks)
has been opened, Free download
>>>>>>
|
|
|
|
|
Ennio
Morricone Mini biography: A classmate of director Sergio Leone
with whom he would form one of the great director/composer partnerships
(right up there with Eisenstein & Prokofiev, Hitchcock &
Herrmann, Fellini & Rota), Ennio Morricone studied at Rome's
Santa Cecilia Conservatory, where he specialised in trumpet.
His first film scores were relatively undistinguished, but he
was hired by Leone for Per un pugno di dollari (1964) on the
strength of some of his song arrangements. His score for that
film, with its sparse arrangements, unorthodox instrumentation
(bells, electric guitars, harmonicas, the distinctive twang
of the jew's harp) and memorable tunes, revolutionised the way
music would be used in Westerns, and it is hard to think of
a post-Morricone Western score that doesn't in some way reflect
his influence. Although his name will always be synonymous with
the spaghetti Western, Morricone has also contributed to a huge
range of other film genres: comedies, dramas, thrillers, horror
films, romances, art movies, exploitation movies -making him
one of the film world's most versatile artists. He has written
nearly 400 film scores, so a brief summary is impossible, but
his most memorable work includes the Leone films, Gillo Pontecorvos
_Battaglia di Algeri, La (1965)_ , Roland Joffé's The Mission
(1986), Brian De Palma's The Untouchables (1987) and Giuseppe
Tornatore's Nuovo cinema Paradiso (1988), plus a rare example
of sung opening credits for Pier Paolo Pasolini's Uccellacci
e uccellini (1966). It must be stressed that he is *not* behind
the work of the entirely separate composers Bruno Nicolai and
Nicola Piovani despite allegations made by more than one supposedly
reputable film guide!
(see
here) |
|
|