布罗克斯顿评说莫里康内 MB-012-113

乔纳森·布罗克斯顿（Jonathan Broxton）的原始评论

Baarìa很可能是导演的第一个例子——在这种情况下是朱塞佩·托纳托雷（Giuseppe Tornatore）——拍摄一部关于他自己的生活故事的电影。这部电影是一封写给西西里岛的反思和情书，描绘了两个儿时的朋友佩皮诺和曼尼娜，他们长大后成为恋人。故事跨越了三代人，从 1920 年代到现在，故事发生在托纳托雷长大的巴格里亚镇（西西里方言中称为 Baarìa）。这部电影由弗朗切斯科·夏安娜和玛格丽特·马德主演，并由传奇人物埃尼奥·莫里康内（Ennio Morricone）原创配乐，他一直是托纳托雷的音乐缪斯女神超过25年，曾谱曲为《天堂电影院》、《斯坦诺·图蒂·贝恩》、《造星者》、《1900年的传奇》和奥斯卡提名的《马莱娜》等电影。

尽管已经81岁高龄，但莫里康内的天赋丝毫没有减弱的迹象。10分钟的“Sinfonia per Baarìa”是莫里康内的经典作品，浪漫地席卷着突出的弦乐、跳舞的木管乐器和熟悉的抒情和弦，但穿插着不和谐的时刻，使他的音乐如此独特和引人注目。在这个乐谱中，经典的新成员是哀叹的男歌手用我认为是西西里方言的音乐吟唱，以及随后的民族木管乐器写作，使主题具有明显的北非风味。不幸的是，提示的后半部分被各种对话片段和音效奇怪地掩盖了，包括火车、鸡叫和海浪拍打，这确实在一定程度上破坏了情绪，但值得庆幸的是，所有主要材料都在下划线本身的内容中重新陈述。

在这首乐谱中可以听到一些真正飙升的音乐;“Baarìa”、“Brindisi”和“Racconto di Una Vita”等线索令人心旷神怡，展现了莫里康内毫不掩饰的情感主题写作。在“Il Corpo e la Terra”和“Un Gioco Sereno”中，音乐变得令人憧憬，几乎是田园诗般的，两者都使用了阳光明媚、轻快的吉他和俏皮的木管乐器。其他提示更加尖锐;精湛的“Ribellione”、“La Visita”和“Un Fiscaletto”是莫里康内多年来写得如此出色的另一首精彩浮夸的进行曲，而“Lo Zoppo”则是一个有力的动作提示，充满了斜线、推进力的弦乐写作、不规则的节奏和嚎叫的小号。

这一切都非常出色，强烈推荐给那些多年来欣赏莫里康内作品的人。莫里康内还能坚持多久尚不得而知。根据互联网电影数据库的数据，Baarìa是他漫长而辉煌的职业生涯中的第492个项目，可以追溯到1959年，如果他现在停止创作，他将在历史上任何作曲家的电影上留下最不可磨灭的印记之一。但是，如果在将近500部乐谱和40年后，他仍然能写出像这首乐谱中所听到的那样美丽和迷人的音乐，我希望它永远不会结束。

评级：****

曲目列表：

• 巴雷亚小交响乐团 （10：59）
• 利贝利奥内 （3：32）
• 巴里亚 （2：27）
• Il Corpo e la Terra （2：35）
• 罗佐波 （0：59）
• 布林迪西 （3：02）
• Un gioco sereno （2：16）
• La Visita （2：47）
• Un Fiscaletto （1：28）
• Racconto di Una Vita （3：27）
• 拉特拉 （1：51）
• 韦尔迪亚诺 （1：48）
• Baarìa （由Banda Musicale dell'Arma dei Carabinieri演唱） （3：11）
• Oltre （由 Banda Musicale dell'Arma dei Carabinieri 演唱） （1：15）
• Prima e Dopo （由Banda Musicale dell'Arma dei Carabinieri演唱） （2：25）
• 我 Mostri （1：58）
• L'Allegro Virtuoso di Zampogna （2：23）
• A passeggio nel corso （2：50）
• Il Vento， Il Mare， I Silenzi （2：23）

片长：53分36秒

图像音乐 0201482IMA （2009）

Original Review by Jonathan Broxton

Baarìa may well be the first instance of a director – in this case Giuseppe Tornatore – making a film about what is effectively his own life story. The film is a reflection and love letter to the island of Sicily, and depicts two childhood friends, Peppino and Mannina, who grow up to be lovers. The story spans three generations, from the 1920s to the present day, and is set in the town of Bagheria (known as Baarìa in Sicilian dialect), where Tornatore grew up. The film stars Francesco Scianna and Margareth Madè, and has an original score by the legendary Ennio Morricone, who has been Tornatore’s musical muse for over 25 years, through films such as Cinema Paradiso, Stanno Tutti Bene, The Starmaker, The Legend of 1900 and the Oscar-nominated Malèna.

Despite being 81 years old, Morricone’s talent shows no sign of waning. The 10-minute “Sinfonia per Baarìa” is a quintessential Morricone piece, romantically sweeping with prominent strings, dancing woodwinds, and the familiar lyrical chords, but interspersed with the moments of dissonance that make his music so unique and compelling. New additions to the canon in this score’s case are the lamenting male vocalist intoning over the music in what I assume to be the Sicilian dialect, and the subsequent ethnic woodwind writing which gives the theme a distinct North African flavor. Unfortunately, the later half of the cue is rather oddly obscured by various dialogue clips and sound effects, including trains, chickens and waves lapping, which does spoil the mood somewhat, but thankfully all the main material is re-stated in the meat of the underscore itself.

There is some truly soaring music to be heard in this score; cues such as “Baarìa”, “Brindisi” and “Racconto di Una Vita” are heart-meltingly gorgeous, and showcase Morricone’s unashamedly emotional thematic writing at its very best. The music becomes wistful, almost idyllic, during “Il Corpo e la Terra” and “Un Gioco Sereno”, both of which make use of sunny, lilting guitars and playful woodwinds. Other cues are more strident; the superb “Ribellione”, “La Visita” and “Un Fiscaletto” feature another one of the wonderfully pompous marches that Morricone has written so well over the years, while “Lo Zoppo” is a punchy action cue filled with slashing, propulsive string writing, off-kilter rhythms and howling trumpets.

It’s all really quite excellent, and highly recommended for those who have appreciated Morricone’s work over the years. Quite how much longer Morricone can go on is unknown; according to the Internet Movie Database, Baarìa is the 492nd project in a long and illustrious career that stretches back to 1959, and if he were to stop now he would have left one of the most indelible marks on the cinema of any composer in history. But, if after almost 500 scores and 40 years, he can still write music as beautiful and engaging as that heard in this score, I hope it never ends.

Rating: ****

Track Listing:

• Sinfonia per Baarìa (10:59)
• Ribellione (3:32)
• Baarìa (2:27)
• Il Corpo e la Terra (2:35)
• Lo Zoppo (0:59)
• Brindisi (3:02)
• Un Gioco Sereno (2:16)
• La Visita (2:47)
• Un Fiscaletto (1:28)
• Racconto di Una Vita (3:27)
• La Terra (1:51)
• Verdiano (1:48)
• Baarìa (performed by Banda Musicale dell’Arma dei Carabinieri) (3:11)
• Oltre (performed by Banda Musicale dell’Arma dei Carabinieri) (1:15)
• Prima e Dopo (performed by Banda Musicale dell’Arma dei Carabinieri) (2:25)
• I Mostri (1:58)
• L’Allegro Virtuoso di Zampogna (2:23)
• A Passeggio Nel Corso (2:50)
• Il Vento, Il Mare, I Silenzi (2:23)

Running Time: 53 minutes 36 seconds

Image Music 0201482IMA (2009)