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Inseguendo quel suono. La mia musica, la mia vita. Conversazioni con Alessandro De Rosa
Questa lunga esplorazione, questa lunga riflessione, a questo punto della mia vita è stata importante e persino necessaria. Entrare in contatto con i ricordi non significa solamente malinconia di qualcosa che sfugge via come il tempo, ma anche guardare avanti, capire che ci sono ancora, e chissà quanto ancora può succedere." Questo libro è il risultato di anni di incontri fra Ennio Morricone e il giovane compositore Alessandro De Rosa. È un dialogo denso e profondo, e allo stesso tempo chiaro ed esatto, che parla di vita, di musica e dei modi meravigliosi e imprevedibili in cui vita e musica entrano in contatto e si influenzano a vicenda. Morricone racconta con ricchezza di particolari il suo percorso: gli anni di studio al Conservatorio, gli esordi professionali per la Rai e la Rca dove scrive e arrangia numerose canzoni di successo - sua, tra le tante, Se telefonando, interpretata da Mina -, le collaborazioni con i più importanti registi italiani e stranieri, da Leone a Pasolini, a Bertolucci e Tornatore, da De Palma a Almodóvar, fino a Tarantino e all'ultimo premio Oscar. In pagine che danno vertigine a chiunque ami la musica e l'arte, il maestro apre per la prima volta le porte del suo laboratorio creativo, introducendo il lettore alle idee che stanno al cuore del suo pensiero musicale e fanno di lui uno dei più geniali compositori del nostro tempo.
481 pages, Hardcover
First published January 1, 2016
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470 people want to read
About the author
Ennio Morricone
112 books24 followersEnnio Morricone, Grande Ufficiale OMRI (born November 10, 1928) was an Italian composer and conductor.
He had composed and arranged scores for more than 500 film and TV productions and widely acknowledged as one of the most prolific and influential film composers of his era.
He was well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.
He wrote the characteristic film scores of Leone's Spaghetti Westerns A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966) and Once Upon a Time in the West (1968). In the 80s, Morricone composed the scores for John Carpenter's horror movie The Thing (1982), Leone's Once Upon a Time in America (1984), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988). His more recent compositions include the scores for Oliver Stone's U Turn (1997), Tornatore's The Legend of 1900 (1998) and Malèna (2000), De Palma's Mission to Mars (2000), Lajos Koltai's Fateless (2005), and Tornatore's Baaria - La porta del vento (2009).
Morricone has received two Grammy Awards, two Golden Globes, six BAFTAs in 1979–1992 & 2015, seven David di Donatello, eight Nastro d'Argento, and the Polar Music Prize in 2010. In 2007, he received the Academy Honorary Award "for his magnificent and multifaceted contributions to the art of film music".
The composer also has been nominated for five Academy Awards for Best Original Score during 1979–2001. He won the award in 2016 for The Hateful Eight. He was inducted into the Grammy Hall of Fame in 2010.
He had composed and arranged scores for more than 500 film and TV productions and widely acknowledged as one of the most prolific and influential film composers of his era.
He was well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.
He wrote the characteristic film scores of Leone's Spaghetti Westerns A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966) and Once Upon a Time in the West (1968). In the 80s, Morricone composed the scores for John Carpenter's horror movie The Thing (1982), Leone's Once Upon a Time in America (1984), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988). His more recent compositions include the scores for Oliver Stone's U Turn (1997), Tornatore's The Legend of 1900 (1998) and Malèna (2000), De Palma's Mission to Mars (2000), Lajos Koltai's Fateless (2005), and Tornatore's Baaria - La porta del vento (2009).
Morricone has received two Grammy Awards, two Golden Globes, six BAFTAs in 1979–1992 & 2015, seven David di Donatello, eight Nastro d'Argento, and the Polar Music Prize in 2010. In 2007, he received the Academy Honorary Award "for his magnificent and multifaceted contributions to the art of film music".
The composer also has been nominated for five Academy Awards for Best Original Score during 1979–2001. He won the award in 2016 for The Hateful Eight. He was inducted into the Grammy Hall of Fame in 2010.
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Displaying 1 - 26 of 26 reviews
March 25, 2022
I have always thought of myself like one of those monks in the Middle Ages, capable of the same concealed, almost hidden, yet steady tenacity. The most exterior facet of this attitude is perhaps perceivable to everybody; proof of this is in the number and the variety of films I have scored throughout the years, in the strenuous attempt to shape my musical mindset. . . . - Ennio Morricone
You think you know a movie director by the way he treated his actresses? No. Morricone reveals to us in these interviews that most of these movie directors are grouchy killjoys who wouldn't be able to recognize a favor when your music composer gave you one. Imagine some of Leones movies without Morricone's music. You would be bored to death. Judge a legendary film director by the way he treated his music composer. Most film directors are nerds and frauds regurgitating their own version of their favorite movie. They want their composer to give them something that recalls their favorite music cues. It is the toughest job on earth. So many instances in this book like when Morricone had to cut off ties with people like Terrence Mallick and Zeffirelli or had to refuse Eastwood because he did not want to offend Leone. A well written film is a pleasure to watch. So is a film with a great background score, if you really think about it.
This is a book for the ones who study music intellectually. It is not for some imbecile like me who has been under Morricone's spell since around 2012. I was into heavy metal and punk rock a long time ago. But no musician has influenced me as much as Morricone has in the last ten years. I really did not understand a lot of the historical discussions and technical stuff in the book, especially towards the end.
This book is sad. I felt like Morricone was some tremendously talented person forced to work with utter morons and frauds. Here is a gentleman who approaches music with the same passion he dedicates to chess and mathematics. He has deep insights into every piece of music that he ever composed. He must have had a tough life, getting mistreated by all these directors. He almost got replaced by Trovajoli in Once Upon a Time in the West. There are so many instances of legendary directors behaving like total pricks in this book. But Morricone is a bit of a rebel. He never bothered to learn or speak the English language. Hahahahahahaha! He did not jump at offers from American filmmakers.
This book is comprehensive. Some pompous aficionado cannot claim that the interviewer ignored the rare Morricone score which only he had the fortitude to listen to. The interviewer is a nerd like us Morricone completists. He has been to every nook and corner of the Morricone oeuvre.
I will reiterate that this was a very melancholic book. It is an account, told through interviews about a great musician forced to bend over for the whims and fancies of some overrated "film director". In an earlier era Morricone would have to impress some king or dictator. Anyway every single director that Morricone worked with is a lucky man. Morricone does like Giueseppe Torantore a lot. He believes his scores for Elio Petri movies were underrated. He also likes John Cage! Hmmm!
Here is my list of 25 obscure Morricone composed soundtracks that need more attention. It is from a list I made on IMDB:
1) The Secret (1974)
I find it amazing that Morricone's work for this film is not better known. It is among his best. The title track - Il Segreto starts off like it could enter Un Uomo Da Rispettare territory with the sounds of water drops trickling, followed by a dissonant sound. But there is soon a melodious piano and it is beautiful when the violin kicks in. Dal Mare has Edda Del Orso (?) starting off slowly and seductively and building up to a crescendo. It is as good as the title track. The whole soundtrack has a menacing feel to it. I watched the movie and it was very good.
2) The Burglars (1971)
This score is my favorite Morricone score over the last 2 years. It has so many good tunes in it. Right from the warm title theme to the haunting love theme. A true obscure classic as far as Morricone is concerned. I strongly recommend it.
3) Revolver (1973)
Another album like The Burglars where Morricone really packs it in. Its not just UN AMICO which is great. There are many other great tunes in this score. Another underrated classic from Morricone.
4) Lulu the Tool (1971)
It is a manic and pounding score. The score has a very edgy proletarian quality and its impact is tremendous as the film builds up towards a frenzied ending. Definitely one of Morricone's best. He did some very interesting work for Petri.
5) Spasmo (1974)
Just a brilliant brilliant score with a combination of pop and classical tracks. Does contain some dissonant stuff as well.
6) The Most Beautiful Wife (1970)
Great badass soundtrack for a battle of the sexes movie. The music sounds like something is boiling in a pot and just waiting to spill over. It is just perfect for this volatile movie which I strongly recommend.
7) Mother's Heart (1969)
A plethora of wonderful tunes in this soundtrack. The innovative opening track - Ricreazione Divertita-Titoli, filled with evangelical chanting, war marching, nostalgic violins and melodious pianos is wonderful. There are many versions of another melodious melancholic tune called "Ninna Nanna Per Adulteri". Gorno di Lavoro is another catchy tune. Cannot recommend this soundtrack enough. I like it enough to want to check out the movie.
8) The Sunday Woman (1975)
Italian name: La Donna Della Domenica. This one is awesome. Nearly as good as Investigation of a Citizen Above Suspicion. Though this one is more comical and less sinister sounding. There are many superb versions of the title track. Impaziente Pianino is a great rollicking piano only composition.
9) Short Night of Glass Dolls (1971)
Edda's humming makes this one very memorable. I guess it is not that obscure. Recommend the movie as well.
10) Cock Crows at Eleven (1978)
Morricone's idyllic sounding score is used in many scenes by the director. It is such a simple and beautiful melody on a piano, succeeded and punctuated by the violins and Edda Dell Orso's singing.
11) The Hawks and the Sparrows (1966)
A terrific rollicking song with vocals is a great start to this soundtrack. It is such a great tune with elements of rock n roll. I am surprised it is not more famous and more modern filmmakers have not appropriated it. I guess it is not that obscure because the song does make an appearance in some Greatest Hits compilations.
12) Increase and Multiply (1973)
Great playful soundtrack that makes use of a lot of man made noises. Once again, Morricone at his innovative best. Brontolonte is a pleasure to listen to. The title track is wonderfully subversive, starting off with a highly sexual female moaning followed by very seductive music.
13) The Infernal Trio (1974)
Very melancholicaly (!) feel good, uplifting and super melodramatic. Woody Allen could really have used this score if he was like Tarantino, lol. There are many versions of the title theme.
14) Escalation (I) (1968)
Another one of those Morricone soundtracks with many good tunes in them. Right from the melancholic and playful title track to the Dies Irae and the simply awesome Collage, this one is Morricone is at his most innovative best. Luca's sound - well, that was an interesting sound. Senza Respiro could have belonged in Hitch Hiker. Matrimonio is another wonderful soundtrack with competing female voices and primitive drumming. And Carillon Erotico is so achingly melodious.
15) Fun Is Beautiful (1980)
The last track has a great melodious whistle. I couldnt stop listening to it for weeks.
16) Il gatto (1977)
Very playful and over the top soundtrack. Il Gatto and Gli Scantenati stand out.
17) Anche se volessi lavorare, che faccio? (1972)
Full of pleasant, over the top and rollicking tunes. Anghingo is a happy song full of competing male and female voices. The track called Tramonto could be out of one of those Spachetti Westerns - it has a very catchy and melodious whistle. The first track starts off quite melancholic but gets very pleasant to listen to.
18) Le mani sporche (1978– )
Tense, intense, melodious and melancholic. Some of the tracks could be the score for a zombie movie if Morricone ever did one. I'm not sure what the TV series is about. Nostalgia Dei Ricordi and Ritorno Dal Passato are great tracks. Nostalgia Dei Ricordi could be the score for a Polanski thriller or something. It would work perfectly for Ghost Writer or Frantic.
19) And Agnes Chose to Die (1976)
Love this score. I played the track called Ostinazione e Impegno over and over in my car in the final months of 2015. It is this sprawling and epic tune. And Agnes Chose to Die is one of those Morricone soundtracks with loads of good tunes. Un Breve Canto Un Lungo Grido is another terrific track. The singing/ wailing (by Edda?) in this track is terrific. It is almost like a wailing lament. The first track is a more subtle version of this wailing.
20) Who Saw Her Die? (1972)
21) Lady of the Camelias (1981)
Has two amazing piano only pieces. You have to play these tracks quite loudly to hear anything. They are wonderful to listen to. I am a huge fan of the first nostalgic and melancholic sounding track.
22) The Flower in His Mouth (1975)
Italian name: Gente Di Respetto. The first tune is a flowing and beautiful mandolin tune. Solo Per Amore, the second tune is a tense and melancholic work that invokes feelings of desolation. Gente Ipocrita begins somewhat playfully and ends in a wild over the top crescendo.
23) The Fifth Day of Peace (1970)
Italian name is Gott Mit Uns. Pleasant and melancholic at the same time. The track called Lontano is worth checking out. There are some tracks that uses army drills and machine gun fire as musical accompaniments.
24) Incontro (1971)
A very melancholic and melodramatic tune is the first track but its beginning is quite sparse but then it really builds up. It does contain some playful tracks as well. The final track called Per Claudia has some very memorable violins.
25) Matchless (1967)
Great title track with a tense and awesome base guitar and then it turns into a really great pop tune.
Will add more from my list. Obviously I don't know how to write about music.
You think you know a movie director by the way he treated his actresses? No. Morricone reveals to us in these interviews that most of these movie directors are grouchy killjoys who wouldn't be able to recognize a favor when your music composer gave you one. Imagine some of Leones movies without Morricone's music. You would be bored to death. Judge a legendary film director by the way he treated his music composer. Most film directors are nerds and frauds regurgitating their own version of their favorite movie. They want their composer to give them something that recalls their favorite music cues. It is the toughest job on earth. So many instances in this book like when Morricone had to cut off ties with people like Terrence Mallick and Zeffirelli or had to refuse Eastwood because he did not want to offend Leone. A well written film is a pleasure to watch. So is a film with a great background score, if you really think about it.
This is a book for the ones who study music intellectually. It is not for some imbecile like me who has been under Morricone's spell since around 2012. I was into heavy metal and punk rock a long time ago. But no musician has influenced me as much as Morricone has in the last ten years. I really did not understand a lot of the historical discussions and technical stuff in the book, especially towards the end.
This book is sad. I felt like Morricone was some tremendously talented person forced to work with utter morons and frauds. Here is a gentleman who approaches music with the same passion he dedicates to chess and mathematics. He has deep insights into every piece of music that he ever composed. He must have had a tough life, getting mistreated by all these directors. He almost got replaced by Trovajoli in Once Upon a Time in the West. There are so many instances of legendary directors behaving like total pricks in this book. But Morricone is a bit of a rebel. He never bothered to learn or speak the English language. Hahahahahahaha! He did not jump at offers from American filmmakers.
This book is comprehensive. Some pompous aficionado cannot claim that the interviewer ignored the rare Morricone score which only he had the fortitude to listen to. The interviewer is a nerd like us Morricone completists. He has been to every nook and corner of the Morricone oeuvre.
I will reiterate that this was a very melancholic book. It is an account, told through interviews about a great musician forced to bend over for the whims and fancies of some overrated "film director". In an earlier era Morricone would have to impress some king or dictator. Anyway every single director that Morricone worked with is a lucky man. Morricone does like Giueseppe Torantore a lot. He believes his scores for Elio Petri movies were underrated. He also likes John Cage! Hmmm!
Here is my list of 25 obscure Morricone composed soundtracks that need more attention. It is from a list I made on IMDB:
1) The Secret (1974)
I find it amazing that Morricone's work for this film is not better known. It is among his best. The title track - Il Segreto starts off like it could enter Un Uomo Da Rispettare territory with the sounds of water drops trickling, followed by a dissonant sound. But there is soon a melodious piano and it is beautiful when the violin kicks in. Dal Mare has Edda Del Orso (?) starting off slowly and seductively and building up to a crescendo. It is as good as the title track. The whole soundtrack has a menacing feel to it. I watched the movie and it was very good.
2) The Burglars (1971)
This score is my favorite Morricone score over the last 2 years. It has so many good tunes in it. Right from the warm title theme to the haunting love theme. A true obscure classic as far as Morricone is concerned. I strongly recommend it.
3) Revolver (1973)
Another album like The Burglars where Morricone really packs it in. Its not just UN AMICO which is great. There are many other great tunes in this score. Another underrated classic from Morricone.
4) Lulu the Tool (1971)
It is a manic and pounding score. The score has a very edgy proletarian quality and its impact is tremendous as the film builds up towards a frenzied ending. Definitely one of Morricone's best. He did some very interesting work for Petri.
5) Spasmo (1974)
Just a brilliant brilliant score with a combination of pop and classical tracks. Does contain some dissonant stuff as well.
6) The Most Beautiful Wife (1970)
Great badass soundtrack for a battle of the sexes movie. The music sounds like something is boiling in a pot and just waiting to spill over. It is just perfect for this volatile movie which I strongly recommend.
7) Mother's Heart (1969)
A plethora of wonderful tunes in this soundtrack. The innovative opening track - Ricreazione Divertita-Titoli, filled with evangelical chanting, war marching, nostalgic violins and melodious pianos is wonderful. There are many versions of another melodious melancholic tune called "Ninna Nanna Per Adulteri". Gorno di Lavoro is another catchy tune. Cannot recommend this soundtrack enough. I like it enough to want to check out the movie.
8) The Sunday Woman (1975)
Italian name: La Donna Della Domenica. This one is awesome. Nearly as good as Investigation of a Citizen Above Suspicion. Though this one is more comical and less sinister sounding. There are many superb versions of the title track. Impaziente Pianino is a great rollicking piano only composition.
9) Short Night of Glass Dolls (1971)
Edda's humming makes this one very memorable. I guess it is not that obscure. Recommend the movie as well.
10) Cock Crows at Eleven (1978)
Morricone's idyllic sounding score is used in many scenes by the director. It is such a simple and beautiful melody on a piano, succeeded and punctuated by the violins and Edda Dell Orso's singing.
11) The Hawks and the Sparrows (1966)
A terrific rollicking song with vocals is a great start to this soundtrack. It is such a great tune with elements of rock n roll. I am surprised it is not more famous and more modern filmmakers have not appropriated it. I guess it is not that obscure because the song does make an appearance in some Greatest Hits compilations.
12) Increase and Multiply (1973)
Great playful soundtrack that makes use of a lot of man made noises. Once again, Morricone at his innovative best. Brontolonte is a pleasure to listen to. The title track is wonderfully subversive, starting off with a highly sexual female moaning followed by very seductive music.
13) The Infernal Trio (1974)
Very melancholicaly (!) feel good, uplifting and super melodramatic. Woody Allen could really have used this score if he was like Tarantino, lol. There are many versions of the title theme.
14) Escalation (I) (1968)
Another one of those Morricone soundtracks with many good tunes in them. Right from the melancholic and playful title track to the Dies Irae and the simply awesome Collage, this one is Morricone is at his most innovative best. Luca's sound - well, that was an interesting sound. Senza Respiro could have belonged in Hitch Hiker. Matrimonio is another wonderful soundtrack with competing female voices and primitive drumming. And Carillon Erotico is so achingly melodious.
15) Fun Is Beautiful (1980)
The last track has a great melodious whistle. I couldnt stop listening to it for weeks.
16) Il gatto (1977)
Very playful and over the top soundtrack. Il Gatto and Gli Scantenati stand out.
17) Anche se volessi lavorare, che faccio? (1972)
Full of pleasant, over the top and rollicking tunes. Anghingo is a happy song full of competing male and female voices. The track called Tramonto could be out of one of those Spachetti Westerns - it has a very catchy and melodious whistle. The first track starts off quite melancholic but gets very pleasant to listen to.
18) Le mani sporche (1978– )
Tense, intense, melodious and melancholic. Some of the tracks could be the score for a zombie movie if Morricone ever did one. I'm not sure what the TV series is about. Nostalgia Dei Ricordi and Ritorno Dal Passato are great tracks. Nostalgia Dei Ricordi could be the score for a Polanski thriller or something. It would work perfectly for Ghost Writer or Frantic.
19) And Agnes Chose to Die (1976)
Love this score. I played the track called Ostinazione e Impegno over and over in my car in the final months of 2015. It is this sprawling and epic tune. And Agnes Chose to Die is one of those Morricone soundtracks with loads of good tunes. Un Breve Canto Un Lungo Grido is another terrific track. The singing/ wailing (by Edda?) in this track is terrific. It is almost like a wailing lament. The first track is a more subtle version of this wailing.
20) Who Saw Her Die? (1972)
21) Lady of the Camelias (1981)
Has two amazing piano only pieces. You have to play these tracks quite loudly to hear anything. They are wonderful to listen to. I am a huge fan of the first nostalgic and melancholic sounding track.
22) The Flower in His Mouth (1975)
Italian name: Gente Di Respetto. The first tune is a flowing and beautiful mandolin tune. Solo Per Amore, the second tune is a tense and melancholic work that invokes feelings of desolation. Gente Ipocrita begins somewhat playfully and ends in a wild over the top crescendo.
23) The Fifth Day of Peace (1970)
Italian name is Gott Mit Uns. Pleasant and melancholic at the same time. The track called Lontano is worth checking out. There are some tracks that uses army drills and machine gun fire as musical accompaniments.
24) Incontro (1971)
A very melancholic and melodramatic tune is the first track but its beginning is quite sparse but then it really builds up. It does contain some playful tracks as well. The final track called Per Claudia has some very memorable violins.
25) Matchless (1967)
Great title track with a tense and awesome base guitar and then it turns into a really great pop tune.
Will add more from my list. Obviously I don't know how to write about music.
August 29, 2019
Tosh and I discuss this on our Book Musik podcast.
Tosh & Kimley discuss Ennio Morricone: In His Own Words - Ennio Morricone in conversation with Alessandro De Rosa. The great Italian composer whose music everyone knows even if they don’t know his name has scored literally hundreds of films, first gaining fame for his scores for the spaghetti westerns of Sergio Leone (A Fistful of Dollars, For a Few Dollars More, The Good, the Bad & the Ugly) and then working with a who’s who of Italian directors (Pier Paolo Pasolini, Bernardo Bertolucci, Giuseppe Tornatore to name a few) and eventually getting noticed by Hollywood and beyond. Terrence Malick, Brian de Palma, Pedro Almodóvar, and Quentin Tarantino have all been lucky enough to have an Ennio Morricone score for their films. His IMDB page currently lists 519 composer credits! And that does not include his incredible output of “Absolute Music” and his work with the Gruppo di Improvvisazione Nuova Consonanza where things get really interesting.
Tosh & Kimley discuss Ennio Morricone: In His Own Words - Ennio Morricone in conversation with Alessandro De Rosa. The great Italian composer whose music everyone knows even if they don’t know his name has scored literally hundreds of films, first gaining fame for his scores for the spaghetti westerns of Sergio Leone (A Fistful of Dollars, For a Few Dollars More, The Good, the Bad & the Ugly) and then working with a who’s who of Italian directors (Pier Paolo Pasolini, Bernardo Bertolucci, Giuseppe Tornatore to name a few) and eventually getting noticed by Hollywood and beyond. Terrence Malick, Brian de Palma, Pedro Almodóvar, and Quentin Tarantino have all been lucky enough to have an Ennio Morricone score for their films. His IMDB page currently lists 519 composer credits! And that does not include his incredible output of “Absolute Music” and his work with the Gruppo di Improvvisazione Nuova Consonanza where things get really interesting.
December 22, 2019
So good! A must-read for anyone interested in Ennio Morricone's music, but also great for anyone interested in film music and all its inner workings, and for movie-lovers in general.
Morricone is a genius in the true sense of the word and to get a peek into his mind with such a well-written book is amazing. So many stories, anecdotes, thoughts, opinions...and all told with such clarity. He gets very technical in breaking down his music, but it's always so fascinating to read, even when some of the advanced theory he refers to goes way over my head! The accompanying Spotify playlist was also a great tool and a fun way to follow along with the massive amount of music they cover.
Morricone is a genius in the true sense of the word and to get a peek into his mind with such a well-written book is amazing. So many stories, anecdotes, thoughts, opinions...and all told with such clarity. He gets very technical in breaking down his music, but it's always so fascinating to read, even when some of the advanced theory he refers to goes way over my head! The accompanying Spotify playlist was also a great tool and a fun way to follow along with the massive amount of music they cover.
August 6, 2021
This is a series of interviews from 2016, translated from the Italian into English in 2019. Ennio Morricone died in 2020.
At times I felt like an inadequate reader, and so would probably only recommend this to someone far more familiar with the bulk of Morricone's work, fairly advanced musicians interested in composition, or fans of Italian cinema. I will try to explain.
For many Americans, Morricone will be most easily identified with his so-called spaghetti western music. In fact, the book's inner flap blurb states as much. This, though, is by his own account only about 8% of his work (p. 34). The first fourth of the book details the various (mostly Italian) producers, directors, actors, singers, musicians, and fellow composers he worked with from the 1940s on. This generally takes the form of the interviewer saying something like, "Then you worked with directors A, B, and C. What was that like?" To which Morricone states something like, "A and I had a good working relationship and became lifelong friends. B was very professional, but I didn't know him personally. C was more difficult -- there was a miscommunication/he didn't allow me enough leeway/we had different visions. It worked out for the best/We never worked together again." This gets repeated over and over. He was a gentleman and rarely criticized anyone. I became lost in the many names, not being familiar with this time period in Italian cinema.
The next part of the book deals more with his philosophy of writing music -- the how and why, the bridges he tried to make between his research/experiments and the audience of listeners. This part I found fascinating and greatly enjoyed.
Then they discuss what he calls his absolute music, which is his non-film music. Again, I enjoyed reading about his influences, research, and various experiments, but the music theory was quite beyond my basic understanding, so I became lost again. There is a short conclusion in which they say goodbye.
What this book is NOT: 1) It is not a biography of his personal life. He has a wife, four children, grandchildren, but they are rarely mentioned. Other books for other composers give more of this, and I found myself latching on to moments when he discussed his deep love for his wife, or his son becoming a composer, or his morning exercise routine. I wanted more of that, as it was very grounding. 2) It is also not a scene by scene analysis of his most famous scores. Again, other books about other composers do that, so that you can relive the movie in your mind's eye connecting it to the music. Some themes are discussed, for some films more than others. A cue here, or how a piece was inspired there. But this is a much broader look at the evolution of his work over the years.
It was quite a different book than I was expecting, but there were passages that were absolutely marvelous. Perhaps I simply don't know enough yet to appreciate it fully, or perhaps it is written for a less general audience.
At times I felt like an inadequate reader, and so would probably only recommend this to someone far more familiar with the bulk of Morricone's work, fairly advanced musicians interested in composition, or fans of Italian cinema. I will try to explain.
For many Americans, Morricone will be most easily identified with his so-called spaghetti western music. In fact, the book's inner flap blurb states as much. This, though, is by his own account only about 8% of his work (p. 34). The first fourth of the book details the various (mostly Italian) producers, directors, actors, singers, musicians, and fellow composers he worked with from the 1940s on. This generally takes the form of the interviewer saying something like, "Then you worked with directors A, B, and C. What was that like?" To which Morricone states something like, "A and I had a good working relationship and became lifelong friends. B was very professional, but I didn't know him personally. C was more difficult -- there was a miscommunication/he didn't allow me enough leeway/we had different visions. It worked out for the best/We never worked together again." This gets repeated over and over. He was a gentleman and rarely criticized anyone. I became lost in the many names, not being familiar with this time period in Italian cinema.
The next part of the book deals more with his philosophy of writing music -- the how and why, the bridges he tried to make between his research/experiments and the audience of listeners. This part I found fascinating and greatly enjoyed.
Then they discuss what he calls his absolute music, which is his non-film music. Again, I enjoyed reading about his influences, research, and various experiments, but the music theory was quite beyond my basic understanding, so I became lost again. There is a short conclusion in which they say goodbye.
What this book is NOT: 1) It is not a biography of his personal life. He has a wife, four children, grandchildren, but they are rarely mentioned. Other books for other composers give more of this, and I found myself latching on to moments when he discussed his deep love for his wife, or his son becoming a composer, or his morning exercise routine. I wanted more of that, as it was very grounding. 2) It is also not a scene by scene analysis of his most famous scores. Again, other books about other composers do that, so that you can relive the movie in your mind's eye connecting it to the music. Some themes are discussed, for some films more than others. A cue here, or how a piece was inspired there. But this is a much broader look at the evolution of his work over the years.
It was quite a different book than I was expecting, but there were passages that were absolutely marvelous. Perhaps I simply don't know enough yet to appreciate it fully, or perhaps it is written for a less general audience.
April 8, 2017
Davvero molto interessante, peccato per la mia ignoranza musicale.
Per chi conosce e ha studiato musica é sicuramente molto più bello.
Per chi conosce e ha studiato musica é sicuramente molto più bello.
July 20, 2019
El más grande compositor de la historia del cine.
March 7, 2025
El documental “Maestro” que explica lo mismo que el libro es aún más bonito por la banda sonora con los temas de Morricone. Aún así, el libro es precioso de leer para aprender más sobre la mente de este maestro.
March 1, 2023
عن استخدامه للصفير 🌬 لأول مرة مع الآلات الموسيقية في فيلم (حفنة من الدولارات ) يقول :
" من بين ألوان الصوت التي استخدمتها، كان الصفير الأكثر بدائية وحميمية؛ في عالم لا تساوي الحياة فيه كثيرا، الصفير عند النار بالليل بفخر وبقليل من الجرأة هو الطريق الأمثل لإبعاد الوحدة" ص٧٠
"الموسيقى الحقيقية لا يمكن أن تُرى وهي مُكَلّفة بمهمة التعبير عما لا يمكن للصورة قوله" ص ١٩٠
ألّفَ موسيقى أبرز أفلام الكاوبوي مثل (الطيب والشرس والقبيح ) كانت تصنع في إيطاليا وتسمى أفلام اسباغيتي الغربية، و فيلم (المُهِمة التبشيرية/ Gabriel's oboe) وفيلم (مولينا)، و فيلم (١٩٠٠ ) وغيرها .
حوار واسع، وأسئلة فنية ثرية، وعميقة في علاقة الإنسان ونشاطاته بالموسيقى في الثلث الأخير، بجانب ذكريات وراء كواليس تأليف الموسيقى التصويرية والشخوص والأحداث وطفولته . قراءته ستكون أكثر سهولة على المُطّلِعين على المصطلحات الموسيقية مسبقاً .
عادة يُعرض عليّ أثناء القراءة عناوين كتب وأحداث لكن مع هذه كانت السيرة صوتية بإمتياز، حيث تعرفت على بعضها على اليوتيوب .
شكراً جزيلا للمترجم .
.
" من بين ألوان الصوت التي استخدمتها، كان الصفير الأكثر بدائية وحميمية؛ في عالم لا تساوي الحياة فيه كثيرا، الصفير عند النار بالليل بفخر وبقليل من الجرأة هو الطريق الأمثل لإبعاد الوحدة" ص٧٠
"الموسيقى الحقيقية لا يمكن أن تُرى وهي مُكَلّفة بمهمة التعبير عما لا يمكن للصورة قوله" ص ١٩٠
ألّفَ موسيقى أبرز أفلام الكاوبوي مثل (الطيب والشرس والقبيح ) كانت تصنع في إيطاليا وتسمى أفلام اسباغيتي الغربية، و فيلم (المُهِمة التبشيرية/ Gabriel's oboe) وفيلم (مولينا)، و فيلم (١٩٠٠ ) وغيرها .
حوار واسع، وأسئلة فنية ثرية، وعميقة في علاقة الإنسان ونشاطاته بالموسيقى في الثلث الأخير، بجانب ذكريات وراء كواليس تأليف الموسيقى التصويرية والشخوص والأحداث وطفولته . قراءته ستكون أكثر سهولة على المُطّلِعين على المصطلحات الموسيقية مسبقاً .
عادة يُعرض عليّ أثناء القراءة عناوين كتب وأحداث لكن مع هذه كانت السيرة صوتية بإمتياز، حيث تعرفت على بعضها على اليوتيوب .
شكراً جزيلا للمترجم .
.
August 5, 2020
Maravillosa biografía en forma de entrevista de un genio del cine, a menudo celebrado, pero de cuya obra solemos conocer una mínima parte. Esta exploración de su genio creativo, su metódica idiosincrasia y sus curiosas relaciones laborales con tantas figuras del cine es una auténtica delicia. El formato entrevista hace que sea fluido y ameno, aunque se pierde algo de linealidad.
November 24, 2018
El compositor de cine que se volvió leyenda, que sacó la música aplicada de las películas y la llevó a otro nivel dándole personalidad propia. El genio que ha compuesto algunas de las bandas sonoras más recordadas, que ha trabajado con Oliver Stone, Pasolini, Sergio Leone, Brian de Palma, Tornatore, Bertolucci, Almodóvar, Tarantino, cuya influencia llega hasta Metallica que abre sus conciertos con L'estasi dell'Oro y que todavía llena estadios cuando dirige sus conciertos en vivo. Morricone cuenta sus orígenes y su evolución que al final lo llevan a su forma personal de entender la música absoluta y aplicada. El libro tiene partes muy técnicas (de teoría musical y de composición) pero vale mucho la pena porque es un viaje por la historia del cine y de la música contemporánea.
August 19, 2020
Imprescindible para todo aficionado al cine, a las bandas sonoras y a la música en general. Libro entrevista donde el Maestro repasa sus colaboraciones con los principales directores con los que ha elaborado y nos habla de su modo de entender la música, fuera y dentro del cine, su continua búsqueda e investigación tímbrica, su sentido de la responsabilidad y su concepto del artista honesto como principio fundamental en su carrera. Advertencia: algunos apartados son muy técnicos para los que no somos músicos, especialmente en el último apartado dedicado a lo que Morricone llama “música absoluta”, en oposición a su denominación de “música aplicada” para la música del cine o del teatro.
May 26, 2019
An exhaustive interview with the great composer.
December 22, 2019
Cudowne u niektórych przedstawicieli naszego gatunku jest to, że potrafią całym sobą oddać się określonej formie ekspresji. Najlepsi dochodzą w niej do mistrzostwa, które reszcie z nas wypada jedynie podziwiać. Tak odbieram Ennia Morricone - wielkiego kompozytora i skromnego człowieka pełnego pasji tworzenia. Setki filmów, do których napisał muzykę, dzięki jego pracy uzyskało dodatkowej głębi. Chyba najwięcej o bohaterze książki - jego filozofii życia i osobowości - mówi udzielona odpowiedź na pytanie jak odbiera ciszę w muzyce (str. 246):
"Jako możliwość. Coś, co wydaje się pokonane i odrzucone przez nasze społeczeństwo, ale dla mnie oznacza potencjalne miejsce schronienia, w którym mogę żyć zatopiony w myślach i razem z nimi. W muzyce można stać się rozdartą raną, niespodziewanym brakiem obecności."
"Moje życie, moja muzyka. Autobiografia" jest bardzo szczerą rozmową, którą Morricone przeprowadził z młodym muzykiem Alessandro de Rosa. Całość składa się z wielu spotkań zrealizowanych przez kilka lat. Jest o inspiracjach muzycznych, o pracy przy filmach, o muzyce absolutnej (tak Morricone nazywa muzykę instrumentalną tworzona dla niej samej), ale przede wszystkim o ciężkiej pracy dającej satysfakcję. Książka ma swoją dynamikę rozumianą chociażby, jako możliwe porównanie oceny współpracy Ennia z reżyserami skonfrontowanej z ich odczuciami tejże przytoczonymi na końcu książki. Bertolucci i Tornatore nie szczędzą mistrzowi pochwał za jego oddanie całego serca tworzeniu muzyki.
Maestro bardzo ciekawie opowiada o kuchni pracy nad filmem. Opisuje jak zmieniały się dostępne z czasem technikalia, jak reżyserzy potrafili bądź nie opisać to, czego oczekują od ścieżki dźwiękowej. Morricone w rzadkich chwilach otwartości na pokazanie wnętrza, opowiada o pasjach szachowych, o sposobach spędzania wolnego czasu, o fascynacjach kobiecym głosem (jego muzy to Joan Baez i Edda Dell'Orso). Opowiada o kryzysach twórczych i strachu, że nie zdąży czegoś wymyślić na czas. Choć tego wprost nie powiedział, najgłębszą potrzebą pracy twórczej Morricone jest chęć bycia wysłuchanym przez odbiorców. Nie jest typem niedostępnego kompozytora, który tworzy bez odwoływania się do stopnia edukacji muzycznej społeczeństwa. Używa wszystkich dostępnych środków muzycznych, ale zawsze tak, by nie zniechęcać słuchaczy. W drugiej części wywiadu pojawia się trudniejszy język wymagający, większych niż moje, kompetencji muzycznych. Zapewne lepiej te partie czytałoby się osobie, z co najmniej pierwszym stopniem wykształcenia muzycznego. Nie ma w tym jednak mentorstwa czy niepotrzebnego epatowania wyszukanym słownictwem; dla mnie to po prostu wezwanie do dokształcenia się.
Morricone, mimo zbliżającej się 90-tki (w trakcie rozmów tego wieku jeszcze nie osiągnął), sens kontynuowanej niestrudzenie pracy widzi w eksperymentach z dźwiękami, ciągłym poszukiwaniu nowych inspiracji i twórczej interpretacji istniejących dzieł muzyki. Dzięki intuicji i instynktowi muzycznej plastyczności dopełniającej obraz, stworzył zapadające w pamięć utwory. Jak sam stwierdził, muzykę filmową chce tak tworzyć, by mogła stanowić samodzielne źródło doznań u słuchacza. Z załączonej listy filmów, do której kompozytor napisał muzykę, wynika, że obejrzałem z nich około 30. Powiedzenie o tej muzyce, że jest dopełnieniem obrazu byłoby wielkim niedomówieniem. Utwory z "Misji", westernowej trylogii dolara Sergia Leone, dylogii "Dawno temu w...", "Cinema Paradiso" czy "Konesera" to samodzielne perełki muzycznych doznań. Muzyka musi się bronić, jako samodzielne dzieło. Słuchając dzieł Morricone czuję, że osiągnął w realizacji tej potrzeby mistrzostwo.
"Moje życie, moja muzyka" to rzadki w książkach dialog oparty na pasji niepodatnej na tymczasowość nieciekawych gustów, na kontemplacji istnienia, na świadomym tworzeniu wartości wbrew modom i kalkulacjom opłacalności finansowej. Po lekturze książki wiem, że jej bohater to człowiek spełniony. Czy można więcej oczekiwać od życia?
Gorąco polecam lekturę autobiografii Ennia Morricone każdemu.
ŚWIETNA - 8.5/10
"Jako możliwość. Coś, co wydaje się pokonane i odrzucone przez nasze społeczeństwo, ale dla mnie oznacza potencjalne miejsce schronienia, w którym mogę żyć zatopiony w myślach i razem z nimi. W muzyce można stać się rozdartą raną, niespodziewanym brakiem obecności."
"Moje życie, moja muzyka. Autobiografia" jest bardzo szczerą rozmową, którą Morricone przeprowadził z młodym muzykiem Alessandro de Rosa. Całość składa się z wielu spotkań zrealizowanych przez kilka lat. Jest o inspiracjach muzycznych, o pracy przy filmach, o muzyce absolutnej (tak Morricone nazywa muzykę instrumentalną tworzona dla niej samej), ale przede wszystkim o ciężkiej pracy dającej satysfakcję. Książka ma swoją dynamikę rozumianą chociażby, jako możliwe porównanie oceny współpracy Ennia z reżyserami skonfrontowanej z ich odczuciami tejże przytoczonymi na końcu książki. Bertolucci i Tornatore nie szczędzą mistrzowi pochwał za jego oddanie całego serca tworzeniu muzyki.
Maestro bardzo ciekawie opowiada o kuchni pracy nad filmem. Opisuje jak zmieniały się dostępne z czasem technikalia, jak reżyserzy potrafili bądź nie opisać to, czego oczekują od ścieżki dźwiękowej. Morricone w rzadkich chwilach otwartości na pokazanie wnętrza, opowiada o pasjach szachowych, o sposobach spędzania wolnego czasu, o fascynacjach kobiecym głosem (jego muzy to Joan Baez i Edda Dell'Orso). Opowiada o kryzysach twórczych i strachu, że nie zdąży czegoś wymyślić na czas. Choć tego wprost nie powiedział, najgłębszą potrzebą pracy twórczej Morricone jest chęć bycia wysłuchanym przez odbiorców. Nie jest typem niedostępnego kompozytora, który tworzy bez odwoływania się do stopnia edukacji muzycznej społeczeństwa. Używa wszystkich dostępnych środków muzycznych, ale zawsze tak, by nie zniechęcać słuchaczy. W drugiej części wywiadu pojawia się trudniejszy język wymagający, większych niż moje, kompetencji muzycznych. Zapewne lepiej te partie czytałoby się osobie, z co najmniej pierwszym stopniem wykształcenia muzycznego. Nie ma w tym jednak mentorstwa czy niepotrzebnego epatowania wyszukanym słownictwem; dla mnie to po prostu wezwanie do dokształcenia się.
Morricone, mimo zbliżającej się 90-tki (w trakcie rozmów tego wieku jeszcze nie osiągnął), sens kontynuowanej niestrudzenie pracy widzi w eksperymentach z dźwiękami, ciągłym poszukiwaniu nowych inspiracji i twórczej interpretacji istniejących dzieł muzyki. Dzięki intuicji i instynktowi muzycznej plastyczności dopełniającej obraz, stworzył zapadające w pamięć utwory. Jak sam stwierdził, muzykę filmową chce tak tworzyć, by mogła stanowić samodzielne źródło doznań u słuchacza. Z załączonej listy filmów, do której kompozytor napisał muzykę, wynika, że obejrzałem z nich około 30. Powiedzenie o tej muzyce, że jest dopełnieniem obrazu byłoby wielkim niedomówieniem. Utwory z "Misji", westernowej trylogii dolara Sergia Leone, dylogii "Dawno temu w...", "Cinema Paradiso" czy "Konesera" to samodzielne perełki muzycznych doznań. Muzyka musi się bronić, jako samodzielne dzieło. Słuchając dzieł Morricone czuję, że osiągnął w realizacji tej potrzeby mistrzostwo.
"Moje życie, moja muzyka" to rzadki w książkach dialog oparty na pasji niepodatnej na tymczasowość nieciekawych gustów, na kontemplacji istnienia, na świadomym tworzeniu wartości wbrew modom i kalkulacjom opłacalności finansowej. Po lekturze książki wiem, że jej bohater to człowiek spełniony. Czy można więcej oczekiwać od życia?
Gorąco polecam lekturę autobiografii Ennia Morricone każdemu.
ŚWIETNA - 8.5/10
May 5, 2024
Once upon a time God walked the earth disguised as a film composer - his name was Ennio Morricone. However, he dismissed the term ‘genius’ and thought himself to be more a silent monk, a servant of music.
“I have always thought of myself like one of those monks in the Middle Ages, capable of the same concealed, almost hidden, yet steady tenacity.”
I’ve been mesmerized by his music ever since I saw Sergio Leone’s westerns 18 years ago, so much that I sent him a letter which he, surprisingly, answered and sent me his signed picture.
That’s why it’s such a pleasure to be let into a conversation with Morricone: inquisitive, open curious, completely self-unabsorbed, humble, more interested in the future of music than a dweller in the past. To a great extent, that’s an achievement on the part of Alessandro de Rosa who asks all the interesting questions.
Morricone spent the majority of his life locked in his cabinet scribbling notes and looking for solutions that would satisfy his duality to combine ‘pure’ music ambitions and ‘applied’ music for cinema. In this way, he came up with some the greatest music of the century.
Though such a lonesome life of a prolific composer isn’t really that exciting, the conversations in the book make it feel like the most exciting life to live. Morricone was chasing that sound till the very last notes he wrote. This book moved me a lot.
“I have always thought of myself like one of those monks in the Middle Ages, capable of the same concealed, almost hidden, yet steady tenacity.”
I’ve been mesmerized by his music ever since I saw Sergio Leone’s westerns 18 years ago, so much that I sent him a letter which he, surprisingly, answered and sent me his signed picture.
That’s why it’s such a pleasure to be let into a conversation with Morricone: inquisitive, open curious, completely self-unabsorbed, humble, more interested in the future of music than a dweller in the past. To a great extent, that’s an achievement on the part of Alessandro de Rosa who asks all the interesting questions.
Morricone spent the majority of his life locked in his cabinet scribbling notes and looking for solutions that would satisfy his duality to combine ‘pure’ music ambitions and ‘applied’ music for cinema. In this way, he came up with some the greatest music of the century.
Though such a lonesome life of a prolific composer isn’t really that exciting, the conversations in the book make it feel like the most exciting life to live. Morricone was chasing that sound till the very last notes he wrote. This book moved me a lot.
September 7, 2020
"Siento el silencio en la música como una posibilidad. Algo que nuestra sociedad parece haber derrotado, pero que para mí puede convertirse en un lugar donde refugiarme, donde vivir en mis pensamientos. Puede llegar como una herida en la partitura, como la repentina falta de una presencia. El silencio debe hacerse música, claro está, ahí tenemos a John Cage y su revolucionaria reflexión (…) Pude ver su concierto- conferencia en el año 1958 (se refiere a John Cage) en Darmstadt. Tras dicho concierto, fuimos un grupo de amigos a dar un paseo por un bosque cercano. La actuación del compositor norteamericano nos había dejado a todos pasmados y mientras caminábamos, no parábamos de comentarla. En eso, llegamos a un pequeño claro, en cuyo centro había una piedra. Decidimos formar todos un corro en torno a la piedra y cada uno se encargó de reproducir un sonido: tú haces ése, yo hago éste, tú este otro... Yo me subí a la piedra y me puse a dirigir: a un gesto mío empezaba un sonido, luego otro y después otro, hasta el clímax final. Nos divertimos mucho durante esta improvisación colectiva: una orquestilla de voces que producía sonidos curiosos en el cobijo de un bosquecillo. A partir de aquella anécdota nació una experiencia que repetimos y con la que grabamos durante varios años incluso en alguna de mis películas: El Gruppo di Improvvisazone Nuova Consonanza"
August 16, 2021
Una biografía presentada en forma de entrevistas y charlas entre un maestro y su amigo cercano y admirador es una opción honesta. La objetividad pura sabemos que no existe, y el toque personal que adquiere el libro conecta perfectamente con el tipo de persona que fue Morricone. Un erudito compositor e intelectual cuya personalidad le permitió abordar una gran obra creativa, tanto por el volumen como por la trascendencia y valor de su producción. Al mismo tiempo, desmitifica los estereotipos del mundo del cine y de una forma de entenderlo que evitó siempre que pudo.
Cien por cien recomendable, especialmente para entender cómo se produjo el encaje entre un compositor de gran rigor académico y artístico, y las necesidades comerciales de la industria del cine, dos mundos a menudo difíciles de conjugar. Morricone logró ser siempre honesto, y gracias a ello, una importante parte de la cultura cinematográfica del siglo XX se ha enriquecido con un legado sonoro y musical que ya forma parte de nosotros y de nuestra civilización.
Cien por cien recomendable, especialmente para entender cómo se produjo el encaje entre un compositor de gran rigor académico y artístico, y las necesidades comerciales de la industria del cine, dos mundos a menudo difíciles de conjugar. Morricone logró ser siempre honesto, y gracias a ello, una importante parte de la cultura cinematográfica del siglo XX se ha enriquecido con un legado sonoro y musical que ya forma parte de nosotros y de nuestra civilización.
April 5, 2022
Un interessante racconto della vita e della carriera di Ennio Morricone attraverso le interviste realizzate dal compositore Alessandro De Rosa, suo stretto collaboratore. Ne emerge tanto l'uomo quanto l'artista, con una doppia lettura più o meno tecnica e approfondita, che può interessare sia gli addetti ai lavori che il pubblico generalista, poco avvezzo alla conoscenza della musica.
Molto apprezzato, specie se letto o ascoltato in concomitanza con l'uscita del documentario.
(Libro ascoltato in Audible)
Molto apprezzato, specie se letto o ascoltato in concomitanza con l'uscita del documentario.
(Libro ascoltato in Audible)
September 8, 2022
Imprescindible para los amantes del cine y la música. Es una lectura muy amena en la que el lector tomará lo necesario puesto que a pesar de que tiene conceptos de teoría musical, no son indispensables para disfrutar el texto. Una mirada interesante al proceso de compositivo y creativode uno de los más grandes músico del siglo XX
November 10, 2021
«Il suono della tua voce
coglie nell' aria
un invisibile tempo
immobilizzandolo
in un attimo eterno
Quell'eco è entrata in me
frantumando i cristali fragili
del mio sospeso presente
... senza ritorno.
Dovrò cercare futuro
inseguendo quel suono
io stesso disperata eco
a ritrovarmi»
coglie nell' aria
un invisibile tempo
immobilizzandolo
in un attimo eterno
Quell'eco è entrata in me
frantumando i cristali fragili
del mio sospeso presente
... senza ritorno.
Dovrò cercare futuro
inseguendo quel suono
io stesso disperata eco
a ritrovarmi»
November 3, 2022
ترجمة مميزة وانجاز عظيم بترجمة كتاب مهم جدا لاحد اهم المؤلفين الموسيقيين في القرن العشرين للسينما والموسيقى التصويرية للافلام ،المايسترو الراحل اينيو موريكوني .شخصيا افضل هذا النوع من المحاورات والكتب التي تتعامل مباشرة عن طريق ادب الحوار .
January 2, 2023
Książka niełatwa, prawdziwą wartość wyniosą z niej muzycy. Dużo terminologii muzycznej, w której mogą nie połapać się laicy. Piękna historia o geniuszu czasów współczesnych. Po przeczytaniu tej książki muzyka filmowa już nigdy nie będzie brzmieć tak samo.
October 4, 2020
Written in interview style, this in-depth discussion with the maestro covers a wide range of topics spanning his lengthy career. Loved it.
March 20, 2022
Bel libro intervista/conversazione di Alessandro De Rosa a Ennio Morricone. A tratti molto tecnico sulla composizione, per il resto leggero e curioso.
January 6, 2023
Najlepiej przeczytać jakoś z równoloeglym obejrzeniem Tornatore
December 31, 2024
Se me cayó de las manos. Dejó de interesarme y me pareció un poco petulante el personaje.
April 1, 2019
Come tutte le biografie: è molto difficile farle risultare interessanti anche per un personaggio così elevato.Il rischio e di cadere in un elenco di accadimenti e opinioni.Certe cose vanno ascoltate....Non scritte....E meglio se ad occhi chiusi....
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