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 New,  Offer,Ennio Morricone

In His Own Words

  • Author: De Rosa, Alessandro

Book

($30.25) $27.22

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Contents

  • Translator's Note
  • Preface
  • Introduction Where These Conversations Come From
  • Chapter One Playing (Chess) with Mephisto
  • Chapter Two A Composer Lent to Cinema
  • 2.1. On Arranging
  • 2.2. The Beginnings in Cinema
  • 2.2.1 Paying My Dues
  • 2.2.2 Luciano Salce
  • 2.3 Sergio Leone and the Dollar Trilogy
  • 2.2.1 A Fistful of Dollars: Myth and Reality
  • 2.2.2 For a Few Dollars More
  • 2.2.3 The Good, the Bad and the Ugly
  • 2.4 Pier Paolo Pasolini
  • 2.4.1 The Hawks and the Sparrows and a Strange Poem
  • 2.4.2 Teorema and an Unrealized Story
  • 2.4.3 Surrendering to Pasolini
  • 2.5 Collaborations, Experiments, and Professional Consolidation
  • 2.5.1 Pontecorvo, De Seta, Bellocchio
  • 2.5.2 Bolognini, Montaldo
  • 2.5.3 Wertmuller, Bertolucci
  • 2.5.4 Consensus or Consumption? 1968 and Once Upon a Time in the West
  • 2.5.5 Duck, You Sucker
  • 2.5.6 Elio Petri
  • 2.5.7 Sergio the Producer
  • 2.5.8 Once Upon a Time in America
  • 2.5.9 The Leningrad Project and Leone's Death
  • Chapter Three Music and Images
  • 3.1 Reflections and Memories of a Film Music Composer
  • 3.1.1 No Theme? More Fun !
  • 3.1.2 Giuseppe Tornatore
  • 3.1.3 Singers and Songs in Film: On Music's Adaptability
  • 3.1.4 Quentin Tarantino
  • 3.1.5 Temporality and the EST Principle
  • 3.2 Backward Path to the Beginnings in Hollywood
  • 3.2.1 The Academy Honorary Award
  • 3.2.2 The Beginnings in U.S. Cinema
  • 3.2.3 A House in the United States?
  • 3.2.4 U.S. Composers
  • 3.2.5 Terrence Malick
  • 3.2.6 The Interpreter Didn't Help with John Carpenter
  • 3.3 Creativity and Constraints: The Double Aesthetics
  • 3.4 On Theater, the Musical, and Television
  • 3.4.1 The Betrothed
  • 3.4.2 Moses, the Lawgiver
  • 3.4.3 Marco Polo
  • 3.4.4 Secret of the Sahara
  • 3.4.5 The Octopus
  • 3.5 Pains and Experiments
  • 3.5.1 Roberto Faenza
  • 3.5.2 Nino Rota
  • 3.5.3 Difficult Relationships
  • 3.5.4 Joanou, Stone, and the Overtones
  • 3.5.5 Warren Beatty
  • 3.5.6 Pride and Repentance
  • 3.5.7 Fights and Arguments
  • 3.6 Beyond Cinema, Beyond Music
  • Chapter 4 Mystery and Mastery
  • 4.1 The Mystery of Creation
  • 4.2 What Is Music?
  • 4.2.1 Birth, Death, and Resurrection of Music
  • 4.2.2 In Search of Myself: How to Listen to Contemporary Music
  • 4.2.3 My Way
  • 4.2.4 A Dilated Present
  • 4.2.5 Studying Music Today?
  • 4.3 A Sophisticated Balance between the Predictable and the Unforeseeable
  • 4.4 Digressions
  • 4.4.1 Cinema's Transformations
  • 4.4.2 Timbre, Sound, and Performers
  • 4.4.3 On Teaching
  • 4.4.4 High Productivity? A Healthy Mind in a Healthy Body
  • Chapter Five An Absolute Music?
  • 5.1 The Roots
  • 5.1.1 A Short Introduction to the Absolute
  • 5.1.2 Darmstadt: A Summer of Experiments
  • 5.1.3 Gruppo d'Improvvisazione Nuova Consonanza
  • 5.2 A Response to the Conflict of Times: Towards Dynamic Immobility
  • 5.2.1 Suoni per Dino
  • 5.2.2 Vidi Aquam. Id Est Benacum
  • 5.3 Musical Creationism versus Musical Evolutionism
  • 5.3.1 Gestazione
  • 5.3.2 Beliefs: The Origins of Life and the Universe
  • 5.4 Mystical Production
  • 5.4.1 Mass for Pope Francis
  • 5.5 The Ideal of Unity: Blend and Hope
  • 5.5.1 The Mission
  • 5.5.2 Voci dal silenzio and La voce dei sommersi
  • 5.5.3 Cantata per l'Europa and a Poem for Maria
  • 5.6 Exchanges, Form, and Linguistic Combinations
  • 5.6.1 UT
  • 5.6.2 The Four Concertos: Form and Non-Form
  • 5.7 The Future of Music: Noise and Silence
  • Chapter 6 Looking Ahead: A Silent Nod towards the Future
  • Chronological List of the Absolute Music
  • Chronological List of the Applied Music
  • Acknowledgments
  • Index