Yesterday, when I was writing a review about The Hateful Eight OST, I have realized that Ennio Morricone should be this week's SundaySpotlight, mainly because two of his motion picture soundtracks are among my favorite soundtracks of all time - Farewell Moscow and El Greco. So, let me present you with my impressions of Morricone's zenith.
First up, Farewell Moscow. Probably one of the most depressing and most divine soundtracks ever made, Farewell Moscow stands as a collection of compositions that reflect cold Russian winter. Syberia, snow and ice are packed in sonic textures that provoke melancholy and nostalgia in me, even when I have nothing to be sad about. Distacco, a tiny theme made of few accords accomplishes all of the above on its own. Main theme Titoli carries the whole story with its morose shifts and interplay of plentitude of instruments. This theme comes in 3 similar versions, only in different instrumental backgrounds. For example, Ricordo Di Mosca delivers string instrumental throughout the central part. Variation in Un Addio Nel Cuore would be a perfect solo string segment If Morricone didn't add riff played on cello. Nel Manicomio is bursting from tension and obscurity, while genius Viaggio manages to simulate the sound of Syberian train. It is one of those moments that give you enormous chills.
Apropos Syberia, the composition name after it serves as more ambient and colder version of Nel Manicomio. Standard orchestrations and drama are cherished in Nel Forzati and terse L'Arresto. Ambient themes and variations embellish Suoni Dai Guardini and In Un Interno. These are magnificent cohesive elements of the whole soundtrack. One of the pinnacles of melancholy comes with Grido Di Sofferenza, a composition saturated with tension and drama with melody being in the same intonation until the very end. Farewell Moscow closes with Titoli Di Coda, a slightly changed variation of the main theme. Imagination of coldness never sounded this real. No doubt that this is an evergreen masterpiece.
Now let's dissect El Greco. It represents one of Morricone's earliest works (1966) and it sonically follows the drama of Greek painter, sculptor and architect who lived in 17th century. The music sounds congruent to the epic vibe of the 50s and 60s when the movie was created. It comes off as retro, but it is very charming even today.
Morricone is true to himself on El Greco. Thematically, he is powerful and authentic as in his contemporary compositions. The opening number Exultate Deo would perfectly fit into any religious-centered movie of that era. When the music transitions into a variation of a theme, it shines fully in Agnoscia e Ricerca. It gives an impression like it was composed by some classicist mastermind, but then again, that's what Morricone is. This particular theme carries the magic of the whole soundtrack, so the rest of the compositions just follow the same concept - Nascondersi and Angoscia e Ricerxa #2 the most.
Invocazione starts as a variation, but then it shifts into a fairytale-like theme with choir. In Festa, Festa #2 and Festa #3, you can notice a bit of imitation of baroque style that kicks out the heaviness of the rest of the soundtrack.
Abundance of church choir is to be heard in Rituale, Alleluia Alleluia and Canti (1a Parte) and Canti (2a Parte) and it becomes clear how eclectic Morricone can be. Unus et Trinus is a mixture of choir and moderate atonality that produces uncomfortable feeling. Reincarnated Vivaldi is present in Per Archi, with only flaw being that it lasts only a brief minute.
I hope I intrigued you enough to start listening to Ennio Morricone. He might as well be Vivaldi of our times and our movies.
