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主页--->m-comment-000--->mb-comment-003-37
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布罗克斯顿评说莫里康内 MB-003-37 |
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FA6709 Giardino delle
delizie / Garden of Delights / 尘世乐土 |
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作者 乔纳森·布罗克斯顿 （Jonathan Broxton） |
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ENNIO MORRICONE 评论，第3部分 003-37 |
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IL GIARDINO DELLE DELIZIE （1967年） Il Giardino Delle Delizie 是一部由西尔瓦诺·阿戈斯蒂编剧和导演的内省意大利戏剧。它由莫里斯·罗内特 （Maurice Ronet） 饰演一个名叫卡洛的男人，他与卡拉（伊芙琳·斯图尔特饰）不幸结婚，卡拉在与妻子的超现实之夜开始质疑自己的生活、人际关系以及伦理和道德以及后果; 随着夜晚的到来，他挣扎着决定是和卡拉在一起，还是把她留给他的情人（莉亚·马萨里饰）。这一切都非常意大利化，从未获得过太多的国际声誉。 这张专辑的第一首乐谱提示与随后的配乐截然不同：开场的“Adonai”是一首由沉重的电吉他即兴演奏、现代打击乐、尖叫的小号和不协调但巧妙地融合的大键琴的管弦乐摇滚乐。整场演出以I Cantori Moderni di Alessandroni演唱的呐喊声画上圆满句号。这真是太棒了。另一方面，“Nel Profondo dell'Eros”是对弦乐和轻电子的闪闪发光的音调的怪异探索，这些音调经常陷入抽象和混乱，很难描述，除了感觉像管弦乐队调音的声音，但更有条理。 主打歌“Il Giardino Delle Delizie （Primo）”以女高音 Edda dell'Orso 的幽灵音调为特色，搭配一排令人毛骨悚然的弦乐，而随后的“Il Giardino Delle Delizie （Secondo）”则沿着同样的道路前进，没有人声。结论性的“Peccato Originale”可能是最抽象的作品：遥远的人声、弦乐数字和不寻常的处理音效在几分钟多的时间里淡入淡出提示，考验着听众的耐心。 《Il Giardino Delle Delizie》是一首奇怪的乐谱，它以一首疯狂乐观的摇滚曲目开始，但随后又进入了一系列不寻常的音调探索，不幸的是，只有莫里康内作品的忠实爱好者才会觉得有必要去看看。Il Giardino Delle Delizie 的配乐是难以捉摸的; 尽管主标题主题确实出现在一两个更全面的莫里康内系列中，但完整的作品从未发布过。对于收藏家来说，最好的选择似乎是GDM唱片公司2004年发行的这张唱片，它将这部电影中超过15分钟的配乐与1987年电影《Quartiere》和1995年电影《L'Uomo Proiettile》的选段配对。 曲目列表： 1. Adonai （3：10）， 2.Nel Profondo dell'Eros （1：06）， 3.Il Giardino Delle Delizie （Primo） （5：38）， 4.Il giardino delle delizie（第二）（2：33），5。Peccato Originale （4：26）。GDM 记录，16 分 51 秒。 |
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2020.7.9 |
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以下是原文
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ENNIO MORRICONE REVIEWS, Part 3-37 |
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IL GIARDINO DELLE DELIZIE (1967) Il Giardino Delle Delizie is an introspective Italian drama written and directed by Silvano Agosti. It stars Maurice Ronet as a man named Carlo, unhappily married to Carla (Evelyn Stewart), who begins to question his life, his relationships, and the ethical and moral and ramifications over the course of a surreal night with his wife; as the night progresses he struggles with the decision over whether to stay with Carla, or leave her for his mistress (Lea Massari). It’s all very Italian, and never gained much of an international reputation. The first score cue on the album is vastly different from what follows it: the opening “Adonai” is a driving piece of orchestral rock music led by a heavy electric guitar riff, modern percussion, a screaming trumpet, and an incongruous but brilliantly-incorporated harpsichord. The whole thing is topped off by yelping vocals performed by I Cantori Moderni di Alessandroni. It’s quite brilliant. “Nel Profondo dell’Eros,” on the other hand, is an eerie exploration of shimmering tones for strings and light electronics, which often descend in to abstract and chaos that is quite difficult to describe, other than is feels like the sound of an orchestra tuning up, but more organized. The title track “Il Giardino Delle Delizie (Primo)” features the ghostly tones of soprano Edda dell’Orso against a bank of eerie strings, while the subsequent “Il Giardino Delle Delizie (Secondo)” contines down the same path, sans vocals. The conclusive “Peccato Originale” is perhaps the most abstract piece of all: faraway vocals, string figures, and unusual processed sound effects fade in and out of the cue over the course of more than several minutes, testing the patience of the listener. Il Giardino Delle Delizie is an odd duck of a score, which starts out with a maniacally upbeat rock track, but then settles down into a series of unusual tonal explorations which, unfortunately, only dedicated devotees of Morricone’s work will feel the need to check out. The soundtrack for Il Giardino Delle Delizie is an elusive one; although the main title theme does crop up on one or two of the more comprehensive Morricone collections, the complete work has never been released. The best bet for collectors appears to be this 2004 release from GDM Records, which pairs just over 15 minutes of score from this film with selections from the 1987 film Quartiere and the 1995 film L’Uomo Proiettile. Track Listing: 1. Adonai (3:10), 2. Nel Profondo dell’Eros (1:06), 3. Il Giardino Delle Delizie (Primo) (5:38), 4. Il Giardino Delle Delizie (Secondo) (2:33), 5. Peccato Originale (4:26). GDM Records, 16 minutes 51 seconds. |
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August 20, 2017 |
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Jon 是一位电影音乐评论家和记者，自 1997 年以来一直担任全球最受欢迎的英语电影音乐网站之一 Movie Music UK 的编辑和首席评论员，并且是国际电影音乐评论家协会 （IFMCA） 的主席。在过去的 20多 年中，Jon 撰写了 3,000 多篇评论和文章，并进行了多次作曲家采访。在杂志刊物方面，乔恩曾为《电影配乐月刊》、《原声带杂志》和《电影音乐》等出版物撰写评论和文章，并为普罗米修斯唱片公司的两张经典 Basil Poledouris 配乐专辑《Amanda》和《Flyers / Fire on the Mountain》撰写了衬垫注释。他还为汤姆·胡佛 （Tom Hoover） 于 2011 年出版的《Soundtrack Nation： Interviews with Today's Top Professionals in Film， Videogame， and Television Scorering》一书撰写了一章。在1990年代后期，乔恩是伦敦皇家爱乐乐团的电影音乐顾问，并与他们合作拍摄了约翰·德布尼（John Debney）的音乐电影《相对价值》（Relative Values）和奥利弗·海斯（Oliver Heise）的音乐《佛陀的指环》（The Ring of the Buddha），以及与兰迪·纽曼（Randy Newman）合作的一系列音乐会。2012年，乔恩在波兰克拉科夫举行的第五届年度电影音乐节上担任“电影节学院”主席。他是作曲家和作词家协会的成员，该协会是作曲家、作词家和词曲作者从事电影、电视和多媒体工作的首要非营利组织。 |
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2023.11.18 |
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2023 手机版 |
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