Ennio Morricone歌手简介:
Ennio Morricone大师1928年生于罗马,毕业于著名的圣切契里亚音乐学院, 迄今为止已经参与制作了各国电影配乐作品400多部,是意大利最多产,最有建树的作曲家,虽然他一生仅仅获得过奥斯卡奖的区区几次提名,但是其他任何一位摘得金像的作曲家,在见到Ennio大师的时候都会毕恭毕敬的主动伸双手相握!Ennio大师的旋律由于乐思宽广,质朴流畅,极富歌唱性,而具有在一瞬间就渗透人心的强大感染力;他的配器由于构思独特,选材广泛,不落窠臼,而使观众闻而不忘,回味无穷;他的配乐手法由于体裁多样,富于独创性,而使电影音乐的语汇获得极大丰富,从而使听众(包括专业人士)的电影音乐思维大大拓宽.
从1964年到1984年的这20年间,Ennio Morricone与意大利导演Sergio Leone共同在世界电影史上,写下了熠熠发光的一页.在他们2人合作的"赏金三部曲": <一把金币>(A Fistful of Dollars);<为了多几块金币>(For A Few Dollars More);<好坏丑>(The Good,The Bad and The Ugly)中,世界电影音乐史上首次出现了粗砺,潇洒的小号主题;空寂,辽远,漫不经心的口哨独奏;甩鞭声,由男声合唱出的戏谑音效;和加弱音器的小号怪诞,调侃的音色.令人耳目一新,给世界各地的观众留下了深刻的印象.Ennio Morricone和Sergio Leone合作完成的"往事三部曲"更是人类电影史上不可超越的三座丰碑.无论是1972年的<革命往事>(Once Upon A Time: The Revolution);1984年的<美国往事>(Once Upon A Time In America);还是1968年的<西部往事>(Once Upon a Time in the West),全都饱含着Ennio大师无与
伦比的美妙音乐,观众们很难忘记那动人心魄的排萧独奏;那凄厉哽咽,刺人心肺的口琴声;更难忘记那牵动着人类共有怀旧情结,仿佛飘过了无限时空的女高音无言哼唱......这些迷人的音色,流畅的旋律以及隽永的风格,对世界各国无数的影片产生了巨大影响.进入20世纪90年代以后,高龄的Ennio大师依然佳作不断,显示出令人叹服的持续创作实力.他与意大利导演Tornatore合作的7部影片当中,诞生了<天堂电影院><天伦之旅><海上钢琴师><西西里的美丽传说>等众多经典配乐
Ennio Morricone四十个岁月近四百部电视电影音乐作品及80篇交响乐章的谱奏，从作曲、编曲、管弦乐编曲、指挥一以贯之的创作态度，在讲究分工的今日，他的坚持默默地为电影音乐保留了一种难能可贵的传统美德，而且也让欧洲的影音工业，在Nino Rota与Fellini创造意大利影音界近30年的传奇后，不至于太过寂寞。放眼电影音乐领域，Morricone是少数在年过70依然固守岗位的耆老，另外从高频率的精选辑出产的商业价值观察，其作品的流通广性跟John Williams比起来，德高望重的敬仰度丝毫不妨多让。2000年岁末进场的The Very Best Of算是窥见大师繁多精品的入门上选之一。
Ennio Morricone四十个岁月近四百部电视电影音乐作品及80篇交响乐章的谱奏，从作曲、编曲、管弦乐编曲、指挥一以贯之的创作态度，在讲究分工的今日，他的坚持默默地为电影音乐保留了一种难能可贵的传统美德，而且也让欧洲的影音工业，在Nino Rota与Fellini创造意大利影音界近30年的传奇后，不至于太过寂寞。放眼电影音乐领域，Morricone是少数在年过70依然固守岗位的耆老，另外从高频率的精选辑出产的商业价值观察，其作品的流通广性跟John Williams比起来，德高望重的敬仰度丝毫不妨多让。2000年岁末进场的The Very Best Of算是窥见大师繁多精品的入门上选之一。
此张选辑试著从西部口哨声、沙龙音乐、空灵乐音、人声合唱、电子合成乐与古典交响乐之间跨越影像的音乐元素选择，重点式的领略Morricone采撷音乐的微妙性质，光是从60年代中期与导演Sergio Leone合作的‘荒野大镖客’、‘黄昏双镖客’、‘黄昏三镖客’到60年代末期的‘狂沙十万里’、80年代的‘四海兄弟’就可感受到大师的用心。‘荒野大镖客’将一段原是摇篮曲的音乐改装，经由口哨声的漂泊、铃声的预警意味、鼓声隐隐坐大的鼓动与人声合唱的组装，潇洒豪情自成一格；‘黄昏双镖客’主题乐章里强化吉他与弦乐的声响气势来壮大枪客对阵的气魄；‘黄昏三镖客’则以奔泄挥洒的号乐与嘿喝的人声极尽夸张能事的抢风采，不让漂泊吉他声专美于前，这三部曲里不安与潇洒共存的意境，塑造了西部电影的传奇。
‘狂沙十万里’凝聚凋零的悲怆情韵，营造出一个缅怀时代风华的荡然史诗，这样的史诗风格到了‘四海兄弟’完全的予以摩登化，但是笛声回荡著沧凉伤感的情绪依旧传达出身处一个时代空间的人物内心深处的无奈，温暖的人声无形中将悲天悯人的情怀慢慢壮阔起来。‘四海兄弟’悲天悯人的情怀在‘教会’浓烈的燃烧，双簧管在恢宏的弦乐呵护下，彰显影片中传教士那份蕴藏在天地之间的凛冽孤单情愁。在情感的表达方面，Morricone为‘真爱伴我行’导演Giuseppe Tornatore成名作‘新天堂乐园’所谱的主题音乐Cinema Paradiso，则以慢板钢琴小品慢慢导进琴弦和谐共鸣的隽永情感，虽是抒情小品曲式，但其旋律里对某一时空下所产生的追忆或依恋情怀的营造，跟‘四海兄弟’、‘教会’是一致的。
The Battle Of Algiers将军乐进行曲拆解成鼓号相当的乐章，运用重步调的鼓乐与抢声头的号乐声音较劲，营造出亦步亦趋的对峙气息，改写意大利帮派电影音乐格局，87年为导演Brian DePalma、劳勃狄尼洛、凯文科斯纳合作的‘铁面无私’正是依循此创作模式的典范；88年为哈里逊福特主演影片‘惊狂记’所作的乐章Frantic以室内音乐实验风弥漫密闭空间的不安调调；90年为梅尔吉勃逊主演‘哈姆雷特’所谱的Hamlet（Version 1）听到大提琴勾勒悲情的戏剧性格；2000年为DePalma不甚成功的科幻片‘火星任务’担纲的A Heart Beats In Space则是一篇发扬古典浪漫精致乐性的星空交响乐，更见大师凭空用音符臆测出万千气象画面情感的独门想像力。
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.