这张专辑开启于梦幻般的湖边小屋，钢琴独奏（由莫里康内的例行钢琴家吉尔达·布妲精彩出场）占据了主导地位。钢琴独奏交织环绕着，以一种蓄意的轻微的情绪断开，弦乐在它的背后上升下降。正如这位作曲家经常做的，旋律并没有真正相随，不过它的确是一支漂亮的曲子。第二个线索是13分钟长的繁星，千亿颗繁星，它让人冥想到浩瀚宇宙之类的东西，一个非常简单的小小的轮廓一再重复出现，首先是钢琴，然后是合成乐器，同时加入一个平静的电吉他-我觉得很舒缓，不过我认为在这支曲目结束之前，听者可能会忍不住跳过这个漫长的音轨，它是如此简单的构思、如此频繁的反复。 带有更多摇滚感觉的G调即兴演奏，或许有平克·佛洛伊德的暗示，吉他与合成音色与打击乐器-它的确是莫里康内的全新领域，说实话，我没想到这是他所做的音乐，我真的不得而知。特技表演更为熟悉-紧张的弦乐回荡，吉他的确出现，不过此时它仅仅起到支撑作用，然后是由弦乐引领的一次动作爆发，不过电声音乐起到了不小的作用。最后，还有莫里康内标志性的暗示，浪漫的酒店的两个房间以笼统的弦乐完成，非常出色，不过（讽刺的是）可能在前面运用得太过频繁，至少，这种相同风格的例子，这位作曲家的准则为它留下了深刻的印象。

专辑标题的通信似乎有电子音乐的成分，在浪潮再度回落之前，最终让位于一个漂亮的钢琴独奏；我认为它是一个亮点线索。钢琴还主宰了（事实上，钢琴是这支曲子唯一的乐器特征）故事中的故事，这一次模仿了古典浪漫模式，全然不同于这位作曲家的精彩之作《双面小提琴》（只是相比之下更为低调）。吉他（与钢琴）再次回到美妙的一颗星辰的回归，它是这部配乐里最浪漫的时刻之一，这或许是因为一种陌生的器乐设置，不过一个熟悉的旋律席卷而来。之后是一支非常零落的曲子，无限空间，旋律碎片如波光粼粼般的巧妙地忽隐忽现；如同这部配乐的某些其他方面，这个理念是极妙的，执行完美，但不知为什么，在理论上它最终不如通过扬声器听上去一样出色。

那个旋律碎片随后完整出现并通过动人的星光黯淡展开，一个6分钟长的线索绝对是这张专辑的亮点：它是一支微风习习的浪漫的曲子，钢琴和吉他携手小提琴独奏与管弦乐队演绎了美妙的风格。抽象的比喻返回到梦幻般的场景，钢琴与弦乐双方相互漂浮环绕；接下来的模子包含了另一支华丽的小提琴独奏。从快速竞赛中可以看出配乐采取了一个罕见的创作思路，返回到一个更加悬念的风格，一个非常简约的低音吉他身影加入了一些紧张的弦乐。在可爱的狗里，配乐再度变得十分疏落，钢琴在一个引人入胜的电子音景中翩翩起舞；随后的短暂发明中，钢琴再次呈现出一种古典的声音。这张专辑以绝望的吉他收场，当中的吉他其实并没有特别绝望可言，反而醇厚柔美。 《通信》中有一些美妙的音乐和小小的悬念素材，然而它不是一个宏大的具有根本性旋律的配乐，其中占主导地位的是埃尼奥·莫里康内的后现代音乐。相反，他非常慎重地创建了某种氛围-爱的音符在一个更加宽泛的音乐作品中飞来飞去忽隐忽现，古典的效应与更为现代的风格完美对接。它是巧妙的音乐与戏剧性的旅程，它所需要的是辉煌，不过正如我所说的，它没有成为一张有影响力的和令人满意的专辑，或许是因为各个组成部分的品质可以单独暗示。这是很棒的感受，这位资深的作曲家还在做一些不同寻常的东西，坦率地说，在这一阶段他创作的任何新的音乐的确非常受欢迎，所以它是一种给定，他的众多粉丝会从中体验到很多享受；不过我猜想从2015年起，如同他的两部配乐（指《五月，做你想做的》和《八恶人》），很多人不会入手太多的已推出的这张专辑。

With Tornatore comes of course Ennio Morricone, this being their eleventh movie together (not counting various tv shows and commercials). Eyebrows might be raised when an 87-year-old composer says he still wants to find new things to do and different things to say but unbelievably, he actually has done something genuinely unlike anything I’ve heard from him before for this score, which focuses on very sparse ideas and executes them with electronics and very prominent electric guitar alongside the Prague orchestra. (Indeed, aspects of his previous Tornatore score were also new for him; the director is clearly a treasured collaborator for Morricone and inspires him to continue to grow as a composer.) Having said that – while it’s new, the score does not have the immediate appeal of many of the composer’s efforts of the last decade or so, which in being “safer” have tended to be more obviously attractive and moving.

There’s more of a rock feel to “Improvvisazione in sol”, hint of Pink Floyd perhaps, guitar and synth pads and percussion – it really is new territory for Morricone and honestly I’d never have thought it was by him had I not known. “Stuntgirl” is more familiar – tense strings swirling, the guitar does appear but only in a supporting role this time, then there’s an explosion of action led by the strings but with no small part for electronics. Finally there’s a hint of the trademark Morricone romance in “Due camere in hotel”, complete with sweeping strings, and it’s very beautiful but (ironically) there are probably just too many previous, better, examples of the same style in the composer’s canon for it to leave too great an impression.

The titular “La corrispondenza” sees textural electronics eventually give way to a beautiful piano solo before the tide turns back again; I think it’s one of the highlight cues. Piano also dominates (in fact, is the only instrument featured in) “Una storia nella storia”, this time in pastiche classical romantic mode not completely unlike (but much more low-key than) the composer’s wonderful Canone Inverso. The guitar returns (with the piano) in the beautiful “Il ritorno di una stella”, one of the score’s most romantic moments, an unfamiliar instrumental setting perhaps but a familiar melodic sweep. Then there’s a much sparser piece, “L’infinito spazio”, shreds of a melody seemingly shimmering in and out cleverly; as with some other aspects of the score, the idea is excellent, the execution perfect, but somehow it doesn’t end up sounding as good through the speakers as it does on paper.

That melodic fragment then appears in full and is developed through the gorgeous “Una luce spenta”, a six-minute cue that is absolutely the highlight of the album: it’s a breezy piece of romance, with the piano and guitar joining forces with a solo violin and the string orchestra in beautiful style. “Parabola astratta” goes back to the dreamlike style, piano and strings both seemingly floating around each other; then in “Calco” comes another gorgeous violin solo. “Veloce corsa” sees the score take a rare return to a more suspenseful style, a very simple descending guitar figure joining some tense strings. In “Il cano simpatico” the score becomes very sparse once more, a piano dancing over a compelling electronic soundscape; then the piano once again takes on a classical sound in “Invenzione breve”. The album closes with “Disperata chittara”, in which the guitar is actually not particularly desperate at all, but rather mellow and relaxing.

There’s some beautiful music in Correspondence and little in the way of suspense material, but this isn’t a score of the big sweeping melodies which dominate Ennio Morricone’s latter-day music. Instead he has very carefully created a certain atmosphere – notes of love flitting in and out of a much wider piece which navigates seamlessly from classical influences up to much more modern stylings. It’s clever music and the dramatic journey it takes is brilliant but as I said, it doesn’t make such a strong and satisfying album as perhaps the quality of the individual components might suggest. It is great to hear the veteran composer still doing something different, and frankly any new music from him at this stage is very welcome indeed, so it’s a given that his many fans will find much to enjoy in it; but I imagine many won’t get as many plays out of the album as his two scores from 2015.