Ennio Morricone大師1928年生于羅馬,畢業(yè)于著名的圣切契里亞音樂(lè)學(xué)院, 迄今為止已經(jīng)參與制作了各國(guó)電影配樂(lè)作品400多部,是意大利最多產(chǎn),最有建樹的作曲家,雖然他一生僅僅獲得過(guò)奧斯卡獎(jiǎng)的區(qū)區(qū)幾次提名,但是其他任何一位摘得金像的作曲家,在見(jiàn)到Ennio大師的時(shí)候都會(huì)畢恭畢敬的主動(dòng)伸雙手相握!Ennio大師的旋律由于樂(lè)思寬廣,質(zhì)樸流暢,極富歌唱性,而具有在一瞬間就滲透人心的強(qiáng)大感染力;他的配器由于構(gòu)思獨(dú)特,選材廣泛,不落窠臼,而使觀眾聞而不忘,回味無(wú)窮;他的配樂(lè)手法由于體裁多樣,富于獨(dú)創(chuàng)性,而使電影音樂(lè)的語(yǔ)匯獲得極大豐富,從而使聽(tīng)眾(包括專業(yè)人士)的電影音樂(lè)思維大大拓寬. 從1964年到1984年的這20年間,Ennio Morricone與意大利導(dǎo)演Sergio Leone共同在世界電影史上,寫下了熠熠發(fā)光的一頁(yè).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(lè)史上首次出現(xiàn)了粗礪,瀟灑的小號(hào)主題;空寂,遼遠(yuǎn),漫不經(jīng)心的口哨獨(dú)奏;甩鞭聲,由男聲合唱出的戲謔音效;和加弱音器的小號(hào)怪誕,調(diào)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(wú)論是1972年的<革命往事>(Once Upon A Time: The Revolution);1984年的<美國(guó)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(wú)與 倫比的美妙音樂(lè),觀眾們很難忘記那動(dòng)人心魄的排蕭獨(dú)奏;那凄厲哽咽,刺人心肺的口琴聲;更難忘記那牽動(dòng)著人類共有懷舊情結(jié),仿佛飄過(guò)了無(wú)限時(shí)空的女高音無(wú)言哼唱......這些迷人的音色,流暢的旋律以及雋永的風(fēng)格,對(duì)世界各國(guó)無(wú)數(shù)的影片產(chǎn)生了巨大影響.進(jìn)入20世紀(jì)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(xù)創(chuàng)作實(shí)力.他與意大利導(dǎo)演Tornatore合作的7部影片當(dāng)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(shuō)>等眾多經(jīng)典配樂(lè) Ennio Morricone四十個(gè)歲月近四百部電視電影音樂(lè)作品及80篇交響樂(lè)章的譜奏，從作曲、編曲、管弦樂(lè)編曲、指揮一以貫之的創(chuàng)作態(tài)度，在講究分工的今日，他的堅(jiān)持默默地為電影音樂(lè)保留了一種難能可貴的傳統(tǒng)美德，而且也讓歐洲的影音工業(yè)，在Nino Rota與Fellini創(chuàng)造意大利影音界近30年的傳奇后，不至于太過(guò)寂寞。放眼電影音樂(lè)領(lǐng)域，Morricone是少數(shù)在年過(guò)70依然固守崗位的耆老，另外從高頻率的精選輯出產(chǎn)的商業(yè)價(jià)值觀察，其作品的流通廣性跟John Williams比起來(lái)，德高望重的敬仰度絲毫不妨多讓。2000年歲末進(jìn)場(chǎng)的The Very Best Of算是窺見(jiàn)大師繁多精品的入門上選之一。 Ennio Morricone四十個(gè)歲月近四百部電視電影音樂(lè)作品及80篇交響樂(lè)章的譜奏，從作曲、編曲、管弦樂(lè)編曲、指揮一以貫之的創(chuàng)作態(tài)度，在講究分工的今日，他的堅(jiān)持默默地為電影音樂(lè)保留了一種難能可貴的傳統(tǒng)美德，而且也讓歐洲的影音工業(yè)，在Nino Rota與Fellini創(chuàng)造意大利影音界近30年的傳奇后，不至于太過(guò)寂寞。放眼電影音樂(lè)領(lǐng)域，Morricone是少數(shù)在年過(guò)70依然固守崗位的耆老，另外從高頻率的精選輯出產(chǎn)的商業(yè)價(jià)值觀察，其作品的流通廣性跟John Williams比起來(lái)，德高望重的敬仰度絲毫不妨多讓。2000年歲末進(jìn)場(chǎng)的The Very Best Of算是窺見(jiàn)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(lè)、空靈樂(lè)音、人聲合唱、電子合成樂(lè)與古典交響樂(lè)之間跨越影像的音樂(lè)元素選擇，重點(diǎn)式的領(lǐng)略Morricone采擷音樂(lè)的微妙性質(zhì)，光是從60年代中期與導(dǎo)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(wàn)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(lè)改裝，經(jīng)由口哨聲的漂泊、鈴聲的預(yù)警意味、鼓聲隱隱坐大的鼓動(dòng)與人聲合唱的組裝，瀟灑豪情自成一格；‘黃昏雙鏢客’主題樂(lè)章里強(qiáng)化吉他與弦樂(lè)的聲響氣勢(shì)來(lái)壯大槍客對(duì)陣的氣魄；‘黃昏三鏢客’則以奔泄揮灑的號(hào)樂(lè)與嘿喝的人聲極盡夸張能事的搶風(fēng)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(wàn)里’凝聚凋零的悲愴情韻，營(yíng)造出一個(gè)緬懷時(shí)代風(fēng)華的蕩然史詩(shī)，這樣的史詩(shī)風(fēng)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(dá)出身處一個(gè)時(shí)代空間的人物內(nèi)心深處的無(wú)奈，溫暖的人聲無(wú)形中將悲天憫人的情懷慢慢壯闊起來(lái)。‘四海兄弟’悲天憫人的情懷在‘教會(huì)’濃烈的燃燒，雙簧管在恢宏的弦樂(lè)呵護(hù)下，彰顯影片中傳教士那份蘊(yùn)藏在天地之間的凜冽孤單情愁。在情感的表達(dá)方面，Morricone為‘真愛(ài)伴我行’導(dǎo)演Giuseppe Tornatore成名作‘新天堂樂(lè)園’所譜的主題音樂(lè)Cinema Paradiso，則以慢板鋼琴小品慢慢導(dǎo)進(jìn)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(duì)某一時(shí)空下所產(chǎn)生的追憶或依戀情懷的營(yíng)造，跟‘四海兄弟’、‘教會(huì)’是一致的。 The Battle Of Algiers將軍樂(lè)進(jìn)行曲拆解成鼓號(hào)相當(dāng)?shù)臉?lè)章，運(yùn)用重步調(diào)的鼓樂(lè)與搶聲頭的號(hào)樂(lè)聲音較勁，營(yíng)造出亦步亦趨的對(duì)峙氣息，改寫意大利幫派電影音樂(lè)格局，87年為導(dǎo)演Brian DePalma、勞勃狄尼洛、凱文科斯納合作的‘鐵面無(wú)私’正是依循此創(chuàng)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(lè)章Frantic以室內(nèi)音樂(lè)實(shí)驗(yàn)風(fēng)彌漫密閉空間的不安調(diào)調(diào)；90年為梅爾吉勃遜主演‘哈姆雷特’所譜的Hamlet（Version 1）聽(tīng)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(wù)’擔(dān)綱的A Heart Beats In Space則是一篇發(fā)揚(yáng)古典浪漫精致樂(lè)性的星空交響樂(lè)，更見(jiàn)大師憑空用音符臆測(cè)出萬(wàn)千氣象畫面情感的獨(dú)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. 更多>>