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DVD REVIEW --------------
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Il
canto del dio nascosto
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Il
papa buono, il papa brutto, il papa cattivo
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by
Didier Thunus
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| The
influence of Morricone's religious belief on his work is
nothing new. Faith is one of his sources of inspiration
and often the reason why his music so often achieves such
a deep and moving dimension. Even more so, but not only,
when the subject matter of the movie itself is closely linked
to religious aspects, as was the case with the three TV-movies
during the 2000's dedicated to the lives of popes John XXIII
and John-Paul II. “Looking back at my career as a musician,
Morricone said in a 2012 interview, I believe that I hit
the utmost of sacredness when I conveyed the soul of the
man, in the television movies about John XXIII and John
Paul II.” 1 |
The
fight between RAI and Mediaset offered the perfect ground
for such projects to materialize, with competing movies
on the same subjects
trying to surpass the achievements of the rival. This profusion
of projects allowed Morricone to recover his place in the
heart of their producers.
A place he had lost to Marco Frisina, seemingly at his own
will, during the making of the Bibbia TV-movies in the Nineties,
a large-scale project
which Morricone had abandoned after writing only 5 pieces.2 |
Marco
Frisina, himself a priest and impressive composer, being
confined to television work –probably because of his vows
preventing him from scoring for the profane cinema –, Morricone
could still have reigned on that territory on the big screen,
but the occasion never materialized. Luckily, when Ricky
Tognazzi was assigned the task of directing Il papa buono
in 2002, a biography of pope John XXIII, he called up his
good friend Ennio Morricone. The same thing happened with
Giacomo Battiato, who had already used some of Morricone's
music in La piovra 8 and 9, in addition to Paolo Buonvino's
original score. In 2005 and 2006, Battiato directed Karol,
un papa rimasto uomo and Karol, un papa rimasto uomo,
a biography of
Karol Wojtyla, who became pope John-Paul II. Morricone offered
his full commitment to these three projects, with magnificent,
rich and moving
scores, containing a wealth of themes and flamboyant moments. |
| To
tell the truth, the series actually started in 2000 for
Morricone, with Giulio Basè's Padre Pio, a movie about the
first priest whose devotion to Christ caused him to exhibit
stigmata. Note that if Tognazzi's collaboration with Morricone
was already well established since the 90's, and the one
with Battiato continued with Risoluzione 819 in 2008, Basè
preferred to work with Morricone's son Andrea for every
subsequent project. So what is Canto del dio nascosto? An
extension of these four scores, a summary of them, or a
reunion? Probably all of this. |
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Karol
e la poesia
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As
the Karol movies reveal, the would-be John-Paul II was not
only a religious man, but also a poet at his hours. A collection
of poems in Polish,
which he wrote as a high school student in his native Wadowice
(not far from Cracovia), was published under the title “Song
of the Hidden God” in 1944. “The poems are undoubtedly an
important key to getting to know the spiritual interior
of the Holy Father John Paul II, says Ks.prof. Jan Machniak3,
his spiritual maturing and his personal relation toward
God. They reveal his vision of the world, his way of understanding
values, inter-personal relations and his attitude towards
himself.” |
Wojtyla
was pope during almost 27 years, from 1978 until his death
in 2005. He had a huge impact on Christianity. He was an
innovator, for example when he said that the Bible was to
be perceived as a metaphor, rather than the retelling of
true happenings. But he was also vastly
criticized, mainly for his views about contraception, or
his slow reaction to the child sex abuse scandals. He didn't
get the nickname of “good Pope”, which remained the property
of John XXIII – ...but neither was he called a bad one or
an ugly one. |
Whatever
the case, Morricone must have felt spiritually close to
pope John-Paul II and to his values, enough for him to undertake
a project like Canto del dio nascosto, fully dedicated to
Karol Wojtyla. There had even been a precedent: an obscure
docu-drama by Jacqueline Manzano,
called Don’t Kill God (1984), intermixing documentary footage
and acted scenes, where the Pope is seen in various encounters
with worshipping Catholics around the globe, and the personification
of evil is shown in clips of dictators such as Hitler. It
is well known for a long time that orricone
has been personally involved in the project, composing what
was referred to on a press release as an “hymn”, sung by
no less than Barbara Hendricks. It has only appeared recently
that the music was actually taken from Morricone’s existing
repertoire. Since Hendricks sang Deborah’s Theme at the
ceremony of the Polar Prize, where Morricone was awarded
the very coveted trophy in 2010, I first thought that this
was just a replay of the Don’t Kill God collaboration, which
would have made sense since Once Upon a Time in America
also dates from 1984. Thanks to the testimony of Christophe
Jacob from the website “Les gens du cinéma”4, who has seen
the movie, we now have the certainty that it was actually
the theme of Jill from C’era una volta il West which was
performed by the American soprano. So this project must
be left aside, because it is nothing compared to the TV
movies of the years 2000’s, and to the Canto del Dio nascosto
concert. |
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Cracovia,
17 June 2007
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Il
Canto del Dio Nascosto was premiered in 2007 in Cracovia
(as one would have expected), with the Maestro conducting
an impressive setup of
orchestra and chorus. The concert opens with Habemus papam
Giovanni Paolo II, the title track from Karol, a grandiloquent
piece which however fails to be memorable because of a too
complex melody line, lost in the different layers of the
male and female choirs. It is nonetheless an impressive
track. The second one introduces the narration which will
guide us through the rest of the work, reading the words
of Karol Wojtyla,
perfectly spoken by famous Polish actor Jerzy Trela. The
music is more subdued, leaving space for the voice. The
theme is new, only reminiscent, towards the end, of Le voce
della storia (itself reminiscent of some tracks from Il
sorriso del grande tentatore), from Karol, un papa rimasto
uomo. Surprisingly, it will be the sole reference to the
music of the second Karol movie, the least represented of
the four scores. As usual, a Morricone piece for recitative
voice doesn't make for easy listening, even more so if you
don't understand the words. We will have to live with this
however, as it is the very meaning of this work. Maybe a
more enjoyable result could have been obtained had Morricone
chosen for the words to be sung, as he did for example when
adapting Pasolini's Tre scioperi. Note that in this specific
case however, the result wasn't too pleasurable either. |
A
first interlude follows, in the form of L'inizio e la fine
from Il papa buono. The next part is the first surprise
of the concert: the excellent piece Il
dolore e l'ira from Padre Pio is offered a completely different
treatment, longer to develop, relying on woodwinds rather
than on the original harpsichord, with a magnificent finale.
The recitative voice is back unfortunately. But the assortment
works rather well, and concludes in a faithful rendition
of Preludio al conclave from Karol (itself a revision of
Per archi from El Greco, 1963). |
| A
short unknown melodic piece on organ introduces the next
and final part, which will consist in a long version of
the main theme from Il papa buono. The introduction, with
bells repeating the first notes of the melody, is quite
engaging and would deserve to be heard without the voice
covering it. The main body of it, without narration this
time, is quite faithful to original, with the memorable
trumpet and choir. |
In
2011, Morricone premiered a suite called “Tra cielo e terra”
at the Accademia Nazionale Santa Cecilia. He played it again
in Poland in 2012,
when he received the prize “Per Arte ad Deum”. It was said
to include music from Karol un uomo diventito papa, but
it actually seems to be
exactly the “Canto del dio nascosoto”, without the narrator
this time, and thus without Wojtyla’s poetry. With all due
respect to the ex-Pope and to
the narrator, this version would be very welcome on CD. |
| The
DVD continues without interruption into the next piece,
even though it doesn't belong anymore to the Canto del dio
nascosto. We actually have to deal with the second part
of the concert: the suite from Karol. |
|
Live
versions of Karol un uomo diventito papa
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The
concert had to be longer than just the Canto, and it sounded
natural to extend it with the first live renditions of several
themes from the initial
Karol movie: Contro, Karol e l'amore, Cracovia, Karol e
il dolore, Karol e gli invasori and Polonia in fiamme. This
suite received a new name: “Karol, l’uomo che divenne papa,
il papa che rimase uomo”. |
| Contro
never fails to impress me. The melody is so tragic and unforgiving,
the crescendo so breathtaking, that it could be used to
illustrate any turning point in human history. The rest
of the programme is a nice selection of calm pieces and
other more tumultuous, all very faithful to the original
versions. |
The
Cracovia concert also showcased some of the usual live suites
of the Maestro, such as the Leone pieces, but these were
naturally left out of
this DVD as they would have been out of place, given the
choice of the producers to focus on the Canto. A courageous
choice, since the other,
more famous, pieces of the Maestro would have secured a
bigger audience for the product. The DVD was simply sold
together with the September/October 2011 release of the
Giubilo Divino publication in Italy, making it a difficult
item to come by, glued inside a poster extolling
the virtues of the merchandise. |
The
orchestra is the usual Roma Sinfonietta, accompanied with
two choirs: the Coro Lirico Sinfonico Romano, and the Coro
Claudio Casini
dell’Università di Tor Vergata di Roma, each with their
choir master. An impressive setup, with very complex moments
to conduct for our Maestro, who nevertheless seems very
at ease. |
The
movie is cleverly directed
by Morricone's son Giovanni, now a seasoned director of
his father's performances. Very focused and humble, without
the diversions found for example on the “Note di pace” video,
which uselessly distracted the audience from the music.
Here the only stars
of the movie are the music and the words, as it ought to
be. |
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1
http://www.avvenire.it/Spettacoli/Pagine/musica-sacramorricone.aspx
2 Abramo was the first episode to be broadcast, in 1993.
But probably Genesi was made first. Not only does this sound
logical, from the biblical chronology point of view, but
it is also clear that Genesi suffered from the resignation
of its composer, having to fill the gaps with pre-existing
music (such as “Le Mystère des Voix Bulgares”), whereas
Abramo has a fully-fledged grandiose score by Frisina. |
| 3 http://www.janmachniak.pl |
| 4
http://www.lesgensducinema.com/question.php?&debut=750 |
欢迎爱好者 进入本站公众平台下载音乐大师中译本1-3期（2014增刊）和4-6期（2015增刊） |
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DVD 评论 --------------
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隐秘的上帝之歌
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好教皇，坏教皇，丑教皇
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（作者
迪迪埃 图诺斯 本站译）
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莫里康内的宗教信仰对他的作品的影响并不是什么新的东西。信念是他的灵感来源之一，而且这也是为什么他的音乐总是那样感人至深的原因。本世纪初叶，出现了三部和宗教主题密切相关的献给教皇约翰二十三世和保罗二世的电视-电影。“回顾我作为一个音乐家的职业生涯，莫里康内在2012年的一次采访中说，我相信，在关于约翰二十三世和约翰·保罗二世的电视电影中，我转达了他们的心灵世界”（注1） |
| 为了在同样主题电影的竞争中超越对手的成就，RAI（编者注：意大利国家电视台）和媒体之间的斗争为这类节目的优生提供了完美的条件。慷慨的环境使莫里康内在这些电影项目的中心获得了他应有的位置。而在上一世纪九十年代摄制的大型电视电影"亚伯拉罕"中，原属于莫里康内的作曲家位置，在他仅仅谱写了两首乐曲之后，却不得不丢给了马可
弗里西纳（注2） |
| 马可 弗里西纳,他自己是一个牧师，也是一位感人的作曲家。但是他被局限在电视作品，这可能是由于他的誓约妨碍了他为那些世俗的电影谱曲。莫里康内在大屏幕领域仍然是占优势的，但他在这种场合（笔者注：此句文意应是指宗教类电影）却从未实现过。幸运的是，当里奇
唐纳吉2002年被委任为电影“好教皇
约翰二十三世/Il
papa buono”的导演时，他想起了他的好朋友莫里康内。同样的事也发生在贾科莫
巴蒂亚托，他曾经在导演“出生入死”第8-9集时使用了莫里康内的一些音乐添加到保罗 布安维诺谱曲的原声音乐中去。在2005和2006年，巴蒂亚托导演了“卡罗，一个成为教皇的人/Karol,
un uomo diventato Papa ”和“卡罗，教皇其人/Karol,
un papa rimasto uomo”.这两部电影是卡罗
沃依提拉变为教皇约翰 保罗二世的传记性的作品。莫里康内用气势恢宏，丰富动人和感人至深的旋律，在这三部作品中实现了他的全部承诺，包括大量的主题音乐和辉煌的片段。 |
| 说实话，对于莫里康内来说，这个系列主题是从2000年开始的。那是由朱里奥
贝斯导演的电影“神父比奥/Padre Pio”（编者注：此电影为莫里康内配乐，但并未纳入莫里康内官站年表目录。本站年表编号为NB0002).需要注意的是，如果说唐纳吉和莫里康内的合作是基于他们从九十年代就已经建立起来的良好关系，和巴蒂亚托的合作继续到2008年的电影“819号决议/Risoluzione
819”，贝斯在后来的电影中首选的作曲家是莫里康内的儿子安德列，那么“隐秘的上帝之歌”是什么？是这四部电影的延伸，它们的概括，或者是一个新的聚合？也许它们都是 |
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卡罗和诗歌
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| 卡罗的电影显示，将成为约翰·保罗二世的那个人不仅是一个虔诚的修道士，而且在他的生活中他也是一个诗人。在一部波兰诗歌集中，还是高中学生的他，1944年在他的家乡瓦多维采（离克拉科夫不远）以“隐秘的上帝之歌”为题发表诗歌。“这首诗对于了解圣父约翰
保罗二世的内心精神世界无疑是一个重要的关键”马奇尼亚克教授（见注3）说：“他的精神和他个人对神的关系走向成熟，它们展现了他对世界的看法，他理解的价值观，人与人之间的关系，和他对待自己的态度。” |
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| 沃依提拉教皇在位近27年，从1978年直到他于2005年去世。他对基督教产生了巨大的影响。他是一个创新者，例如他说过，“圣经”是一个隐喻，而不是真实发生事情的复述。但他对于避孕的观点，对于儿童XING虐待丑闻的迟缓反应，也受到了广泛的批评。他没有得到“好教皇”的昵称，那是约翰二十三世留下的财富--但他也不是所谓的坏的或丑陋的。 |
| 无论是哪种情况，莫里康内必须深入到教皇保罗二世的精神世界，专注于卡罗
沃依提拉并了解他的价值观，以使他自己可以胜任为“隐秘的上帝之歌”谱曲的任务。曾经有过这样的先例：一部由杰奎林·曼萨诺导演的名为“不要杀神/Don’t
Kill God”（1984）的文献纪录片，混杂了纪录片的片段和演出的场景。在那里，被世 |
| 界各地天主教徒所崇拜的教皇受到了各式各样的遭遇，在一些片段里他被视为像独裁者希特勒一样的邪恶的化身。众所周知，很长一段时间莫里康内亲自参与了该项目，为在一件新闻中作为“赞歌”发布的音乐谱曲，那首歌由芭芭拉
亨德里克斯演唱。这首歌只是在最近才显示出实际上是来自莫里康内已有的保留曲目。2010年，莫里康内在保拉音乐奖获得了那个令人垂涎的奖杯，（Polar
Prize 笔者注 瑞典國際音乐大獎，成立於1989年。該獎項每年給一位當代音樂家和一位古典音樂家。2010年莫里康内和冰岛音乐家比约克同时受奖），亨德里克斯在授奖典礼上演唱了黛博拉的主题，我首先想到的是这是一次“不要杀神”合作的重现。这是很有意义的，它甚至还可以追溯到1984年的电影“美国往事”。感谢克里斯托弗
雅各布在“人民电影”（
Les
gens du cinéma）（见注4）网站上的见证：谁看过那部电影，现在我们已经确切地知道那是“西部往事”中由美国女高音演唱的吉尔的主题。不过，这件事应该放到一边去了，因为对比这几部新世纪的电视电影和“隐秘的上帝之歌”音乐会，它实在算不上什么。 |
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2007年6月17日的克拉科夫
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| “隐秘的上帝之歌”首演于2007年的克拉科夫（正如人们所期望的），大师指挥了一个令人印象深刻的交响乐团和合唱团。音乐会是从“我们有一个教皇约翰
保罗二世”开始，它的标题来自电影“卡罗”（编者注，见本页底部NA0503的001），这是一段夸张的音乐。但是由于它的旋律过于复杂，男声和女声分不清层次而令人失望。尽管如此它还是感人的。第二首是一个叙述性的介绍，它引导我们进入余下的作品。由著名的波兰演员耶依
特里拉朗读卡罗 沃依提拉的作品。音乐非常柔和，为人声留出了空间。主题是新的，仅仅是回忆往事。（它使人想起在电影“女人是魔鬼”中的一些音乐--编者注，该电影本站编号为NA7305).这首音乐来自电影“卡罗，教皇其人”。令人惊讶的是，它是这个第二部关于卡罗的电影在这个音乐会中唯一的涉及的曲目，至少包括了它的四首乐曲。通常莫里康内作品中含有叙述声的片段是不太容易听懂的，特别是如果你不懂这些语言时。但是我们仍然不得不去理解它，因为它往往包含了很重要的内容。如果莫里康内将这些语言改变为唱词的话也可能会得到更加令人愉快的结果。正如他为了改编帕索里尼的“三次冲击/Tre
scioperi（编者注: 这是莫里康内基于帕索里尼的三十四行诗于1975到1988年间创作的乐曲，于1996年发行了一个专辑。参见此页倒数第4行和01，02，03）已经做过的那样。尽管在这种特定情况下，其结果也不是太合意的。 |
| 第一个插曲是来自电影“好教皇
约翰二十三世”的“起点和终点”(编者注：见本页底部NA0204-002
L'inizio
E La Fine） 。接下来的部分是这个音乐会给人的第一个惊喜：这段杰出的乐曲来自“神父比奥”的“痛苦和愤怒”，(编者注：见此页）它出现了一个完全不同的编排处理，使用了木管乐器，而不是原来的大键琴，带有一个宏伟的结尾。不幸的是叙述声又回来了。不过作品的协调是相当好的，结束在卡罗的“秘密会议前奏曲”(编者注：见本页底部NA0204的008-Preparazione
Al Conciave）的忠实再现（它是1963年电影“格列柯传”的Per
archi的修正版--编者注，此曲见此页NA6402-014） |
| 一段由管风琴演奏的未知的短旋律引入了下一段音乐和最后的部分，那是来自电影“好教皇
约翰二十三世”的长版的主旋律。在这段序曲中重复出现的带有钟声的第一段音符，旋律是相当迷人的，在被叙述声所覆盖之外的部分十分动听。它的主体部分，除去其中的叙述部分，还是相当忠实于原作的，特别是其中的小号和唱诗班令人难忘。 |
| 2011年，莫里康内在圣赛西利亚国家科学院首次演出了名为“天地之间”（编者注，
原曲见这里）的一部组曲。2012年他在波兰接受“艺术赞美奖”（编者注，见此页）时再一次演奏此曲.
有人说它是来自“卡罗，一个成为教皇的人”，但实际上，它更像是来自“隐秘的上帝之歌”，这一次没有叙述人声，因而也没有沃依提拉的诗词。出于对前教皇和叙述者应有的敬意，这个CD版本将会受到非常的欢迎。 |
| DVD没有中断地进入下一个段落，即使它并不属于“隐秘的上帝之歌”。实际上，我们已经进入了音乐会的第二部分，来自“卡罗”的组曲 |
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“卡罗，一个成为教皇的人”的现场版
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| 音乐会自然比仅仅是这首歌要长, 而且要从最初的“卡罗”电影几个主题的第一次现场演出进一步扩展，它包括了：“逆反”，“卡罗和爱”，“克拉科夫”，“卡罗和痛苦”，“卡罗和侵略者”，“光辉的波兰”（编者注：见本页底部NA0503的002,005,004,009,006,010）这个组曲使用了一个新的名字:“卡罗，一个成为教皇的人，教皇这个人” |
| “逆反”给我留下的印象十分深刻。旋律是如此惨烈和无情.其音量逐渐增大到惊人的程度，它可以用来描述任何人类历史的转折点。其余的部分有的选择了平静，有的比较喧嚣。所有的曲目都非常忠实于原有的版本 |
| 克拉科夫音乐会也展示了一些大师音乐会常用的组曲，例如莱昂内的电影音乐，但是由于DVD的重点在于其主题，受空间限制它们并未被收录进来。对于这张DVD来说，大师的作品已经吸引了大量的听众。 |
| 演出的乐团是常见的罗马交响乐团，伴随两个合唱团：罗马诺歌剧院的合唱团和罗马Tor
Vergata大学（笔者注，见这里）的克劳迪奥·卡西尼合唱团。尽管组成比较复杂，但大师指挥看上去仍然非常轻松 |
| 这场音乐会由莫里康内的儿子乔瓦尼导演,现在他已经可以娴熟地导演他父亲的音乐会。聚焦于主题，不像“和平之音”音乐会（编者注，指2008威尼斯音乐会）那样分散了听众的注意力。在这里，只有音乐和叙述占据着它们应有的位置。 |
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注解
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| 1 http://www.avvenire.it/Spettacoli/Pagine/musica-sacramorricone.aspx |
| 2 电影“亚伯拉罕”的第一集是在1993年播出。不过可能“创世纪”制作在前。
不仅从圣经年代的观点看它是合乎逻辑的，而且“创世纪”遭到了作曲家的放弃这也是清楚的，这使得它不得不使用原先已有的音乐来填补空白。（如“保加利亚神秘的音乐之声”--编者注，参见这里）。然而“亚伯拉罕”却有弗里西纳谱曲的宏伟音乐 |
| 3 http://www.janmachniak.pl |
| 4 http://www.lesgensducinema.com/question.php?&debut=750 |
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