道格拉斯评说莫里康内 MC-001

13年2007年2月13日

克拉克·道格拉斯（Clark Douglas）的原始评论

如果作曲家是建筑工人，我很确定我会希望埃尼奥·莫里康内（Ennio Morricone）建造我的房子。今天没有另一位作曲家像莫里康内一样可靠和一致，没有人能如此定期地创作出如此出色和令人钦佩的音乐。在他最好的时候，莫里康内将我们带到了音乐狂喜的高度，向我们展示了我们以前只幻想的美丽水平。在他最糟糕的时候，莫里康内写出了困难、具有挑战性、刺耳的音乐，这些音乐很容易欣赏，但很难听。即使你讨厌这张专辑，你也很难说它有什么坏话，因为它做得很好。

在莫里康内的每一首乐谱中，几乎总是有一些美丽的东西，也几乎总是有一些困难的东西。虽然莫里康内确实写过一些以悬疑为主的极其引人入胜的配乐（例如去年的“La Sconosciuta”），但许多莫里康内的粉丝购买的依据不是有多少值得听（因为肯定是所有值得听的），而是有多少是真正可听的。就“L'Ultimo dei Corleonesi”而言，我很抱歉地说，素材的困难确实很大。

它不是那样开始的。莫里康内以一首精彩的作品“Il Mito Del Male”开场，听起来它应该伴随着弗兰肯斯坦怪物的创作。这一切都很好，直到你意识到这部电影是一部关于意大利柯里昂内西家族崛起的电影。有趣的是，这部电影以我的一位远房亲戚被捕而告终，所以你可以想象我发现埃尼奥·莫里康内 （Ennio Morricone） 为电影中对我有亲戚关系的人被捕的描绘写了音乐时的兴奋！在一年之内，我相信这个故事会变成莫里康内用我作为整个配乐的灵感来源。

话又说回来，也许不是，因为那样我就会指责自己是一个相当平淡无奇的人。大部分音乐都是黑暗而凄凉的，是的，非常困难。哦，不是全部......“Scoperto”和“Clandestino”是非常引人入胜的悬念线索，而“Clandestino”则是一部精美的动作片。此外，还有“Borsellino E Falcone”，这是莫里康内标志性的主题之一，非常可爱。但对于每一个引人入胜的提示，都像“Nella Tana”这样的作品，从头到尾都很难坐下来。

专辑的中间部分（曲目 6-9）可能是最薄弱的部分，但在“Braccato”中，情况有所好转，这是一首简短但紧迫的弦乐作品。“Apparente Calma”非常宁静和梦幻，后面的几个线索又回到了弗兰肯斯坦式的哥特式管风琴音乐，非常有趣。这张专辑以一首非常奇怪的作品结束，民谣风格的悬念提示“Per Tre”，这是曼陀林和木管乐器的一些怪异的东西。这是一种非常令人不安的方式。像所有莫里康内的乐谱一样，这个乐谱也有优点，但这可能只是他对于更狂热的粉丝的释放。与此同时，我将继续热切地等待续集，它将专注于柯里昂内西家族的一位美国远房亲戚的黑暗和扭曲的开端，他冒充音乐评论家策划宏伟的邪恶计划......

评级：***

曲目列表：

• Il Mito del 马累 （3：24）
• Borsellino e Falcone （3：46）
• Scoperto （3：35）
• Senza Respiro （2：16）
• 秘密 （4：23）
• 内拉·塔娜 （4：38）
• Fuggiasco （3：41）
• Luce di Luna （2：08）
• Notte di Angoscia （3：38）
• 布拉卡托 （1：44）
• Apparente Calma （3：13）
• 柯里昂内西一书 （3：49）
• 纳斯科斯蒂 （2：58）
• Sacralita Negativa （2：29）
• Inseguito （2：28）
• 每 Tre （4：56）

片长：56分06秒

RAI 贸易 FRT-424 （2007）

音乐由埃尼奥·莫里康内（Ennio Morricone）作曲和指挥。埃尼奥·莫里康内（Ennio Morricone）改编。由法比奥·文丘里（Fabio Venturi）录制和混音。专辑由埃尼奥·莫里康内（Ennio Morricone）

February 13, 2007

Original Review by Clark Douglas

If composers were construction workers, I’m pretty sure that I would want Ennio Morricone to build my house. There is not another composer working today who is as reliable and consistent as Morricone, no one who creates such excellent and admirable music on such a regular basis. At his best, Morricone takes us to the heights of musical ecstasy, showing us levels of beauty that we had previously only fantasized about. At his worst, Morricone writes difficult, challenging, harsh music that is easy to admire but incredibly difficult to listen to. Even if you hate the album, you have a hard time saying anything bad about it, because it’s done so well.

In every Morricone score, there is nearly always something beautiful, and there is nearly always something difficult. While Morricone has certainly written some extremely engaging scores dominated by suspense (such as last year’s “La Sconosciuta”), many Morricone fans base their purchases not on how much is worth listening to (because surely all of it is), but how much is actually listenable. In the case of “L’Ultimo dei Corleonesi”, I’m sorry to say that the level of difficult material is really pretty high.

It doesn’t start like that. Morricone opens with a fabulous piece, “Il Mito Del Male”, which sounds like it should accompany the creation of Frankenstein’s monster. That’s all well and good, until you realize that this movie is a film about the rise of the Corleonesi clan in Italy. Interestingly enough, the film ends with the arrest of one of my distant relatives, so you can imagine my excitement to discover that Ennio Morricone wrote music to accompany the film portrayal of the arrest of someone who I am related to! Within a year, I’m sure that story will have changed to Morricone using me as the inspiration for the entire score.

Then again, maybe not, because then I would be accusing myself of being a rather uninspiring guy. Much of the music is dark and bleak, and yes, very difficult. Oh, not all of it… “Scoperto” and “Clandestino” are very engaging suspense cues, and “Clandestino” is a fine piece of action. Plus there’s “Borsellino E Falcone”, one of those trademark Morricone themes that are oh-so-lovely. But for every engaging cue, there’s a piece like “Nella Tana” which is just rather difficult to sit through from start to finish.

The mid-section of the album (tracks 6-9) is probably the weakest portion, but things pick up a little in “Braccato”, a brief but urgent piece for strings. “Apparente Calma” is very tranquil and dreamlike, and a couple of the later cues return to Frankenstein-like gothic organ music, very fun. The album ends on a very strange piece, the folk-inspired suspense cue “Per Tre”, which is some freaky stuff for mandolin and woodwinds. it’s a very unnerving way to close the album. Like all Morricone scores, this one has merit, but it’s probably only a release for his more avid fans. In the meantime, I will continue to eagerly await the sequel, which will focus on the dark and twisted beginnings of a distant American relative of Corleonesi clan, plotting grand schemes of evil while posing as a music reviewer…

Rating: ***

Track Listing:

• Il Mito Del Male (3:24)
• Borsellino e Falcone (3:46)
• Scoperto (3:35)
• Senza Respiro (2:16)
• Clandestino (4:23)
• Nella Tana (4:38)
• Fuggiasco (3:41)
• Luce di Luna (2:08)
• Notte di Angoscia (3:38)
• Braccato (1:44)
• Apparente Calma (3:13)
• I Corleonesi (3:49)
• Nascosti (2:58)
• Sacralita Negativa (2:29)
• Inseguito (2:28)
• Per Tre (4:56)

Running Time: 56 minutes 06 seconds

RAI Trade FRT-424 (2007)

Music composed and conducted by Ennio Morricone. Orchestrations by Ennio Morricone. Recorded and mixed by Fabio Venturi. Album produced by Ennio Morricone.

001	Il Mito Del Male	邪恶的神话
002	Borsellino E Falcone	博尔塞利诺和法尔科内
003	Scoperto	裸露
004	Senza Respiro	没有呼吸
005	Clandestino	隐蔽
006	Nella Tana	在塔纳
007	Fuggiasco	逃亡
008	Luce Di Luna	明亮的月光
009	Notte Di Angoscia	苦难的夜晚
010	Braccato	追捕
011	Apparente Calma	表面的平静
012	I Corleonesi	柯里昂
013	Nascosti	隐藏
014	Sacralita Negativa	神圣的拒绝
015	Inseguito	追求
016	Per Tre