Ennio Morricone大師1928年生于羅馬,畢業于著名的圣切契里亞音樂學院, 迄今為止已經參與制作了各國電影配樂作品400多部,是意大利最多產,最有建樹的作曲家,雖然他一生僅僅獲得過奧斯卡獎的區區幾次提名,但是其他任何一位摘得金像的作曲家,在見到Ennio大師的時候都會畢恭畢敬的主動伸雙手相握!Ennio大師的旋律由于樂思寬廣,質樸流暢,極富歌唱性,而具有在一瞬間就滲透人心的強大感染力;他的配器由于構思獨特,選材廣泛,不落窠臼,而使觀眾聞而不忘,回味無窮;他的配樂手法由于體裁多樣,富于獨創性,而使電影音樂的語匯獲得極大豐富,從而使聽眾(包括專業人士)的電影音樂思維大大拓寬. 從1964年到1984年的這20年間,Ennio Morricone與意大利導演Sergio Leone共同在世界電影史上,寫下了熠熠發光的一頁.在他們2人合作的"賞金三部曲": <一把金幣>(A Fistful of Dollars);<為了多幾塊金幣>(For A Few Dollars More);<好壞丑>(The Good,The Bad and The Ugly)中,世界電影音樂史上首次出現了粗礪,瀟灑的小號主題;空寂,遼遠,漫不經心的口哨獨奏;甩鞭聲,由男聲合唱出的戲謔音效;和加弱音器的小號怪誕,調侃的音色.令人耳目一新,給世界各地的觀眾留下了深刻的印象.Ennio Morricone和Sergio Leone合作完成的"往事三部曲"更是人類電影史上不可超越的三座豐碑.無論是1972年的<革命往事>(Once Upon A Time: The Revolution);1984年的<美國往事>(Once Upon A Time In America);還是1968年的<西部往事>(Once Upon a Time in the West),全都飽含著Ennio大師無與 倫比的美妙音樂,觀眾們很難忘記那動人心魄的排蕭獨奏;那凄厲哽咽,刺人心肺的口琴聲;更難忘記那牽動著人類共有懷舊情結,仿佛飄過了無限時空的女高音無言哼唱......這些迷人的音色,流暢的旋律以及雋永的風格,對世界各國無數的影片產生了巨大影響.進入20世紀90年代以后,高齡的Ennio大師依然佳作不斷,顯示出令人嘆服的持續創作實力.他與意大利導演Tornatore合作的7部影片當中,誕生了<天堂電影院><天倫之旅><海上鋼琴師><西西里的美麗傳說>等眾多經典配樂 Ennio Morricone四十個歲月近四百部電視電影音樂作品及80篇交響樂章的譜奏，從作曲、編曲、管弦樂編曲、指揮一以貫之的創作態度，在講究分工的今日，他的堅持默默地為電影音樂保留了一種難能可貴的傳統美德，而且也讓歐洲的影音工業，在Nino Rota與Fellini創造意大利影音界近30年的傳奇后，不至于太過寂寞。放眼電影音樂領域，Morricone是少數在年過70依然固守崗位的耆老，另外從高頻率的精選輯出產的商業價值觀察，其作品的流通廣性跟John Williams比起來，德高望重的敬仰度絲毫不妨多讓。2000年歲末進場的The Very Best Of算是窺見大師繁多精品的入門上選之一。 Ennio Morricone四十個歲月近四百部電視電影音樂作品及80篇交響樂章的譜奏，從作曲、編曲、管弦樂編曲、指揮一以貫之的創作態度，在講究分工的今日，他的堅持默默地為電影音樂保留了一種難能可貴的傳統美德，而且也讓歐洲的影音工業，在Nino Rota與Fellini創造意大利影音界近30年的傳奇后，不至于太過寂寞。放眼電影音樂領域，Morricone是少數在年過70依然固守崗位的耆老，另外從高頻率的精選輯出產的商業價值觀察，其作品的流通廣性跟John Williams比起來，德高望重的敬仰度絲毫不妨多讓。2000年歲末進場的The Very Best Of算是窺見大師繁多精品的入門上選之一。 此張選輯試著從西部口哨聲、沙龍音樂、空靈樂音、人聲合唱、電子合成樂與古典交響樂之間跨越影像的音樂元素選擇，重點式的領略Morricone采擷音樂的微妙性質，光是從60年代中期與導演Sergio Leone合作的‘荒野大鏢客’、‘黃昏雙鏢客’、‘黃昏三鏢客’到60年代末期的‘狂沙十萬里’、80年代的‘四海兄弟’就可感受到大師的用心。‘荒野大鏢客’將一段原是搖籃曲的音樂改裝，經由口哨聲的漂泊、鈴聲的預警意味、鼓聲隱隱坐大的鼓動與人聲合唱的組裝，瀟灑豪情自成一格；‘黃昏雙鏢客’主題樂章里強化吉他與弦樂的聲響氣勢來壯大槍客對陣的氣魄；‘黃昏三鏢客’則以奔泄揮灑的號樂與嘿喝的人聲極盡夸張能事的搶風采，不讓漂泊吉他聲專美于前，這三部曲里不安與瀟灑共存的意境，塑造了西部電影的傳奇。 ‘狂沙十萬里’凝聚凋零的悲愴情韻，營造出一個緬懷時代風華的蕩然史詩，這樣的史詩風格到了‘四海兄弟’完全的予以摩登化，但是笛聲回蕩著滄涼傷感的情緒依舊傳達出身處一個時代空間的人物內心深處的無奈，溫暖的人聲無形中將悲天憫人的情懷慢慢壯闊起來。‘四海兄弟’悲天憫人的情懷在‘教會’濃烈的燃燒，雙簧管在恢宏的弦樂呵護下，彰顯影片中傳教士那份蘊藏在天地之間的凜冽孤單情愁。在情感的表達方面，Morricone為‘真愛伴我行’導演Giuseppe Tornatore成名作‘新天堂樂園’所譜的主題音樂Cinema Paradiso，則以慢板鋼琴小品慢慢導進琴弦和諧共鳴的雋永情感，雖是抒情小品曲式，但其旋律里對某一時空下所產生的追憶或依戀情懷的營造，跟‘四海兄弟’、‘教會’是一致的。 The Battle Of Algiers將軍樂進行曲拆解成鼓號相當的樂章，運用重步調的鼓樂與搶聲頭的號樂聲音較勁，營造出亦步亦趨的對峙氣息，改寫意大利幫派電影音樂格局，87年為導演Brian DePalma、勞勃狄尼洛、凱文科斯納合作的‘鐵面無私’正是依循此創作模式的典范；88年為哈里遜福特主演影片‘驚狂記’所作的樂章Frantic以室內音樂實驗風彌漫密閉空間的不安調調；90年為梅爾吉勃遜主演‘哈姆雷特’所譜的Hamlet（Version 1）聽到大提琴勾勒悲情的戲劇性格；2000年為DePalma不甚成功的科幻片‘火星任務’擔綱的A Heart Beats In Space則是一篇發揚古典浪漫精致樂性的星空交響樂，更見大師憑空用音符臆測出萬千氣象畫面情感的獨門想像力。 Ennio Morricone is probably the most famous film composer of the 20th century. He is also one of the most prolific composers working in any medium. No exact figure is available, but he's scored several hundred films over the past several decades, perhaps as many as 500. While these have been in almost every imaginable musical style (and for almost every imaginable kind of movie), he is most identified with the "spaghetti Western" style of soundtracks, which he pioneered when providing the musical backdrop for the films of director Sergio Leone. Morricone's palette is extraordinarily diverse, drawing from classical, jazz, pop, rock, electronic, avant-garde, and Italian music, among other styles. Esteemed by such important figures in modern music as John Zorn (not to mention contemporary directors like Martin Scorsese), he is increasingly placed among not just the finest soundtrack composers, but the most important contemporary composers of any sort. Morricone began studying music at Rome's Conservatory of Santa Cecilia at the age of 12. Urged to concentrate on composition by his instructors, he supported himself by playing trumpet in jazz bands, and then worked for Italy's national radio network after graduating from the conservatory. He didn't begin scoring films until the early '60s, and didn't begin attracting international notice until he began collaborating with Leone, starting with A Fistful of Dollars in the mid-'60s. (Morricone had previously worked on other Italian Westerns with other directors.) The spaghetti Westerns only comprised a phase of Morricone's career, but for many his work in this field remains his best and most innovative. Morricone amplified the film's plots and drama through ingenious use of diverse arrangements and instrumentation. Jew's harps, dissonant harmonicas, dancing piccolos, bombastic church organs, eerie whistling, thundering trumpets, oddly sung gunfighter ballads, and ghostly vocal choruses — all became trademarks of the Morricone-Leone productions, then of the spaghetti Western genre as a whole. The influence of rock & roll was felt in the low, ominous twanging guitars, which reflected (intentionally or unintentionally) the sound of contemporary recordings by the Ventures, Duane Eddy, the Shadows, and John Barry. Morricone's most famous composition, the theme to The Good, the Bad and the Ugly, made number two in the U.S. when it was covered by Hugo Montenegro. Even while he was busy with collaborations with Leone, Morricone found time for various other film projects, such as the agitprop classic Battle of Algiers and Burn! By the 1970s, Morricone was winding down his involvement with both Leone and the spaghetti Western, working with numerous other directors all over the world. Grand orchestration and memorable motifs were commonplace in Morricone's work; Warren Beatty, for instance, once told the Los Angeles Times that "there's nobody better than Ennio to create a haunting theme." His scores also began to utilize more contemporary electronic influences, with mixed results.