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作者 乔纳森·布罗克斯顿 （Jonathan Broxton）

西部往事 （1968）

塞尔吉奥·莱昂内（Sergio Leone）的《西部往事》（Once Upon a Time in the West）可以说是有史以来最伟大的西部片之一，这是他热切期待并最终广受好评的克林特·伊斯特伍德（Clint Eastwood）“美元”三部曲的后续作品，他于1966年完成了《好、坏和丑》。这是一个关于谋杀、死亡、背叛和复仇的故事，主要讲述了三个人：弗兰克，亨利·方达扮演的对手; 吉尔，由克劳迪娅·卡迪纳莱饰演; 还有一个没有名字的人，由查尔斯·布朗森扮演，他的标志性特征是他吹口琴。弗兰克是一名枪手，他刚刚杀死了一整个家庭，以便他和他的团伙可以接管这片土地并开发打算在附近建造的铁路。吉尔是弗兰克刚刚杀死的男人的新婚妻子，她来到镇上与他在一起——却发现由于弗兰克的无情，她的生活变成了废墟。与此同时，口琴与弗兰克的仇怨可以追溯到几年前，并打算尽其所能进行报复。这部电影还由杰森·罗巴兹饰演另一位当地枪手夏安，并由加布里埃尔·费尔泽蒂、伍迪·斯特罗德、杰克·埃拉姆和莱昂内尔·斯坦德担任配角。它有莱昂内、贝尔纳多·贝托鲁奇和达里奥·阿金托的剧本——如果真的有的话，那就是意大利电影制作天才的三巨头——当然还有莫里康内最受欢迎的配乐之一。

莱昂内让莫里康内在拍摄开始前创作配乐，并在后台为现场的演员播放音乐以激发他们的灵感——这一定是多么鼓舞人心的！配乐基于四个主要角色的四个主要主题，以及整部电影的总体主题，以及几个壮观的一次性布景，强调了故事核心的暴力和背叛。

吉尔的主题是最著名的，这是一段辉煌而高亢的旋律，从扬琴和长笛的柔和温柔的二重奏上升到无与伦比的埃达·德尔·奥尔索（Edda dell'Orso）的无词独唱女高音，并最终成为整个管弦乐队。这是一个极其脆弱和美丽的主题，但也以力量和决心为基础，完美地捕捉了她的性格; 它在开场的“C'Era Una Volta Il West”、席卷而来的“Arrivo Alla Stazione”、充满憧憬的“L'America di Jill”、平静的“Un Letto Troppo Grande”、悲伤的、几乎听起来失落的“In Una Stanza Con Poca Luce”和歌剧“Finale”中的表演仍然是莫里康内写过的最好的作品之一，这说明了很多。

弗兰克的主题自然是最稀疏和克制的，紧凑而令人不安的旋律，使用重复的电吉他主题和羽管键琴来传达他的残酷，一心一意的无情。 它首先出现在《L'Uomo》中，然后在《Il Grande Massacro》中发展到近乎歌剧的悲剧高度，弗兰克和他的帮派在一个充满无端慢动作和不安的结尾的场景中平静地屠杀了整个麦凯恩家族。 后来在令人遗憾、苦乐参半的《结语》中的陈述也给人留下了积极的印象。

正如人们所预料的那样，口琴的主题是围绕这种乐器与起伏的琴弦和电吉他相结合而建立的，但亚历山德罗·亚历山德里尼 (Alessandro Alessandrini) 对它的演奏稀疏、不和谐且具有对抗性，与浪漫的美国西部形成鲜明对比。 口琴表演为合唱团和管弦乐队的中间部分画上了圆满的句号。 当然，这一主题在《Armonica》、《L'Ultimo Rantolo》中最为突出，当然还有杰出的《L'Uomo dell'Armonica》，那里的声音确实高亢。

最后，夏延的主题几乎带有喜剧色彩，打击乐器模仿马蹄声，伴随着勇敢的班卓琴曲调。 像“La Posada 1”、同名“Cheyenne”、“Sul Tetto del Treno”和“Addio a Cheyenne”这样的线索突出了夏安的主题，但莫里康内小心翼翼地不让音乐或角色变成模仿， 相反，小调琴弦和频繁闪烁的羽管键琴音符增加了一定程度的不安。

虽然《黄金三镖客》的亮点可以说更胜一筹，但《西部往事》可能是一个更全面的整体配乐，因此它总是在有关最佳西部配乐、最佳意大利西部配乐的讨论中 ，以及莫里康内职业生涯的最好成绩。 这无疑是一部绝对重要的作品，属于每个有自尊心的粉丝的收藏。 当然，多年来，该乐谱已经发布了数十次，其长度和音质各不相同。 我选择回顾一下 GDM/Intermezzo Media 2014 年发行的 2-CD 限量版配乐，其中将这部电影的一个多小时的配乐与另一部传奇作品《荒野大镖客》中近 40 分钟的音乐搭配在一起。

曲目列表：1. C'Era Una Volta Il West (3:43)、2. L'Uomo (1:03)、3. Il Grande Massacro (2:40)、4. Arrivo Alla Stazione (0:55) , 5. L'Orchestraccia (2:25), 6. L'America di Jill (2:47), 7. Armonica (2:27), 8. La Posada 1 (1:39), 9. Un Letto Troppo 格兰德 (1:32)、10.吉尔 (1:47)、11.弗兰克 (1:52)、12.夏延 (1:16)、13.拉波萨达 2 (1:33)、14.拉波萨达 3 (1:19), 15. Epilogo (1:14), 16. Sul Tetto del Treno (1:19), 17. L'Uomo dell'Armonica (3:30), 18. In Una Stanza Con Poca Luce ( 5:08), 19. L'Attentato (4:41), 20. Ritorno al Treno (0:57), 21. Morton (1:36), 22. Come Una Sentenza (3:08), 23. Duello 结局 (3:35)、24. L'Ultimo Rantolo (1:44)、25. Nascita di Una Città (4:25)、26. Addio a Cheyenne (2:38)、27. 结局 (4:00) 。 GDM/间奏曲媒体记录 GDM 00804，64 分 52 秒。

2020.9.19

以下是原文

ENNIO MORRICONE REVIEWS, Part 6-64

ONCE UPON A TIME IN THE WEST (1968)

Arguably one of the greatest westerns ever made, Sergio Leone’s Once Upon a Time in the West – C’Era Una Volta Il West in his native Italian – was his eagerly awaited, and ultimately critically acclaimed follow up to the Clint Eastwood “Dollars” trilogy that he completed with The Good the Bad and the Ugly in 1966. It’s a tale of murder, death, betrayal, and revenge, and focuses on three individuals: Frank, played against type by Henry Fonda; Jill, played by Claudia Cardinale; and a man with no name, played by Charles Bronson, whose defining feature is that he plays the harmonica. Frank is a gunslinger, who has just killed an entire family so that he and his gang can take over the land and exploit the railroad, which is intended to be built nearby. Jill is the new wife of the man who Frank has just killed, and has arrived in town to be with him – only to find her life in ruins thanks to Frank’s ruthlessness. Meanwhile, Harmonica has a vendetta against Frank that goes back years, and intends to exact revenge in any way he can. The film also stars Jason Robards as Cheyenne, another local gunman, and features Gabriele Ferzetti, Woody Strode, Jack Elam, and Lionel Stander in supporting roles. It has a screenplay by Leone, Bernardo Bertolucci, and Dario Argento – a holy triumvirate of Italian filmmaking talent if ever there was one – and of course features one of Morricone’s most beloved scores.

Leone had Morricone compose the score before shooting started, and played the music in the background for the actors on set to inspire them – and What an inspiration that must have been! The score is based around four main themes for the four main characters, as well as an overarching theme for the film as a whole, and several spectacular one-off set pieces that underscore the violence and betrayal at the heart of the story.

Jill’s theme is the most famous, a glorious and soaring melody that rises from a soft and gentle duet for dulcimer and flute to incorporate a wordless solo soprano by the incomparable Edda dell'Orso, and eventually the full orchestra. It’s a theme of great fragility and beautify, but is also underpinned by a strength and determination that captures her character perfectly; its performances in the opening “C’Era Una Volta Il West,” the sweeping “Arrivo Alla Stazione,” the wistful “L’America di Jill,” the peaceful “Un Letto Troppo Grande,” the sad, almost lost-sounding “In Una Stanza Con Poca Luce,” and the operatic “Finale” remain among the best things Morricone ever wrote, and that’s saying a lot.

Frank’s theme is, naturally, the most sparse and restrained, a tight and uncomfortable melody that uses a repetitive electric guitar motif alongside a harpsichord to convey his brutal, single-minded ruthlessness. It first appears in “L’Uomo,” and then grows to near-operatic heights of tragedy in “Il Grande Massacro,” when Frank and his gang calmly slaughter the entire McCain family in a scene filled with gratuitous slow-motion and uneasy close-ups. Later statements in the regretful, bittersweet “Epilogo” also leave positive impressions.

Harmonica’s theme, as one might expect, is built around that instrument in combination with undulating strings and an electric guitar, but Alessandro Alessandrini's performance of it is sparse, dissonant, and antagonistic, the flip side to the romantic American west. The harmonica performances bookend a remarkable middle section for choir and orchestra. The theme is most prominent, naturally, in “Armonica,” in “L’Ultimo Rantolo,” and of course in the standout “L’Uomo dell’Armonica,” where the voices really soar.

Finally, Cheyenne’s theme has an almost comedic edge, with percussion items that mimic the hoofbeats of a horse, accompanying a plucky banjo tune. Cues like “La Posada 1,” the eponymous “Cheyenne,” “Sul Tetto del Treno,” and “Addio a Cheyenne” feature Cheyenne’s theme prominently, but Morricone is careful to never let the music – or the character – turn into parody, instead adding a level of uneasiness with minor key strings and frequent glittering harpsicord notes.

While the highlights of The Good the Bad and the Ugly are arguable superior, Once Upon a Time in the West is probably a more well-rounded overall score, and as such it is always in the conversation regarding best western scores, best spaghetti western scores, and the best scores of Morricone’s career. It’s certainly an absolutely vital work that belongs in every self-respecting fan’s collection. The score has, naturally, been released dozens and dozens of times over the years, on alums of varying length and varying sound quality. I have chosen to review the 2014 2-CD limited edition release of the score from GDM/Intermezzo Media, which pairs over an hour of score from this film with almost 40 minutes of music from that other legendary work, A Fistful of Dollars.

Track Listing: 1. C’Era Una Volta Il West (3:43), 2. L’Uomo (1:03), 3. Il Grande Massacro (2:40), 4. Arrivo Alla Stazione (0:55), 5. L’Orchestraccia (2:25), 6. L’America di Jill (2:47), 7. Armonica (2:27), 8. La Posada 1 (1:39), 9. Un Letto Troppo Grande (1:32), 10. Jill (1:47), 11. Frank (1:52), 12. Cheyenne (1:16), 13. La Posada 2 (1:33), 14. La Posada 3 (1:19), 15. Epilogo (1:14), 16. Sul Tetto del Treno (1:19), 17. L’Uomo dell’Armonica (3:30), 18. In Una Stanza Con Poca Luce (5:08), 19. L’Attentato (4:41), 20. Ritorno al Treno (0:57), 21. Morton (1:36), 22. Come Una Sentenza (3:08), 23. Duello Finale (3:35), 24. L’Ultimo Rantolo (1:44), 25. Nascita di Una Città (4:25), 26. Addio a Cheyenne (2:38), 27. Finale (4:00). GDM/Intermezzo Media Records GDM 00804, 64 minutes 52 seconds.

Sep 19, 2020

001	Cera Una Volta Il West / Once Upon A Time In The West (3:43)	西部往事
002	L'uomo / The Man (1:03)	这个人
003	Il Grande Massacro / The Grand Massacre (2:40)	杀戮
004	Arrivo Alla Stazione / Arrival at the Station (0:55)	到达车站
005	Lorchestraccia / Bad Orchestra (2:25)	低劣的乐队
006	LAmerica Di Jill / Jill's America (2:47)	吉尔的美国
007	Armonica / Harmonica (2:27)	口琴
008	La Posada N. 1 / The First Tavern (1:39)	第一客栈
009	Un Letto Troppo Grande / A Bed Too Large(1:32)	一张太大的床
010	Jill (1:47)	吉尔
011	Frank (1:52)	弗兰克
012	Cheyenne (1:16)	夏尔
013	La Posada N. 2 / The Second Tavern (1:33)	第二客栈
014	La Posada N. 3 / The Third Tavern (1:19)	第三客栈
015	Epilogo / Epilogue (1:14)	尾声
016	Sul Tetto Del Treno / On the Roof of the Train (1:19)	在列车车顶
017	L'uomo Dell'armonica / Man With a Harmonica (3:30)	吹口琴的人
018	In Una Stanza Con Poca Luce / A Dimly Lit Room (5:08)	一个昏暗的房间
019	Lattentato / The Transgression (4:41)	侵犯
020	Ritorno Al Treno / Return to the Train(0:57)	回到列车
021	Morton (1:36)	莫顿
022	Come Una Sentenza / As A Judgement (3:08)	作为判决
023	Duello Finale / Final Duel (3:35)	最后的决斗
024	Lultimo Rantolo / Death Rattle (1:44)	最后的喘息
025	Nascita Di Una Citta / Birth of a City (4:25)	一个城市的诞生
026	Addio A Cheyenne / Farewell To Cheyenne (2:38)	告别夏尔
027	Finale (4:08)	终了曲

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。

2023.11.28

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