Maestro, the Ennio Morricone Online Magazine, Issue #2 - June 2013

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PREFACE - Objectives Revealed - Didier Thunus (3,4) -- REVIEW - Maddalena - Steven Dixon (5-10) -- ANALYSIS - Six Degrees of Separation : A vain comparison between Ennio Morricone and Jerry Goldsmith - Didier Thunus (10-17) -- PORTRAIT - From Hercules to El Greco: Morricone and Luciano Salce - by Gergely Hubai (17-21) -- SCORE REVIEW - I Promessi Sposi: A Masterpiece for a Classic - Patrick Bouster (21-28) -- DOSSIER - Pomp and Circusmtance, part II - Laurent Perret (29-38) -- COLUMN - Five Man Army Week - Steven Dixon (39) -- DOSSIER - Ennio Morricone and China, part II - Wenguang Han (40-43) -- ARTWORK - Queimada 45” Art - Steven Dixon (44-46) -- PORTRAIT - Ennio Morricone and Quentin Tarantino: A Love Story - Didier Thunus (47-53)
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28 octobre 2015

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T iGcMM PSNNEL OQL N SMl E I
June 2013 ISSUE #2
more
A Co mpar ison ORRICO DSMITH AND
A Cassi POSI ROMESSI
Port rait ALCE UCIA O
Fi lm and Mus c Review ADDALENA
A Love Story ORRICO ARANTINO AND
45” Art UEIMADA MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #2 JUNE 2013

Table of Contents
Preface ..................................................................................................................................... 3
Maddalena ............................................................................................................................... 5
Six Degrees of Separation : A vain comparison between E.Morricone and J.Goldsmith ....... 10
From Hercules to El Greco: Morricone and Luciano Salce .................................................... 17
I Promessi Sposi : A Masterpiece for a Classic ...................................................................... 21
Pomp and Circusmtance, part II ............................................................................................. 29
Five Man Army Week ........................................................................................................... 39
Ennio Morricone and China, part II ....................................................................................... 40
Queimada 45” Art .................................................................................................................. 44
Ennio Morricone and Quentin Tarantino : A Love Story ....................................................... 47














License for all articles: CreativeCommons
Cette œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution -
Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 2.0 Belgique


Chief editors: Patrick Bouster and Didier Thunus
Front cover design: Valeria Magyar
Back cover drawing: Nikola Suknai

2

ćMAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #2 JUNE 2013
—— —— —PRE FA CE
Objectives Revealed
When you embark on a new undertaking, you must have objectives and you must measure them
as you go. Otherwise you are going nowhere. We launched Maestro as if it was simply the sequel
of MSV, and since MSV lived on for more than 30 years, how would Maestro, with the many
advantages it has over its predecessor, fail to perpetuate the tradition? But it’s not that easy.
Our objectives were: continuity, quality and sustainability. We wanted to carry on what MSV had
established, to ensure a high level of quality, and to make sure it could go on for a long period.
Regarding the continuity, our worst enemy was called nostalgia. This is all nice, one might have
said, but it is not MSV anymore. Where is that trepidation of checking my post box in search of
the latest release of MSV? Where is my paper copy? Why do I have to print it myself? Where is
that closed member group to which I belonged? Why is it now in the open? There is not much we
can do about that. But those people must realize that by replacing MSV, we are also saving it.
The drawbacks are, we believe, vastly compensated by the advantages. There are improvements
in terms of availability: Maestro is now for free, available to everyone in the world from the first
day of its release, accessible anywhere you go, it will never be out of stock, all issues will always
be available at all times; and in terms of presentation: A4 format, with colour pictures,
ready-touse hyperlinks, zoomable for persons having difficulties with small characters, searchable, etc...
Continuity also meant that we should keep at least the user base of MSV. But there appeared to
be two major obstacles to this: communication and accessibility.
Our communication plan was rather simple: announce the release of issue #1 in the Ennio
Morricone International Forum, and send some e-mails afterwards to people who didn't seem to
have reacted. This led to about 35 downloads only, much less than expected. So we decided to
broadcast the news to other places visited by Morricone fans, and more generally by film music
1fans . These included Film Score Monthly, Underscores, the “Morricone” Yahoo Group, and the
“Euro Film Score Society” Yahoo Group. In parallel, we prepared a mailing to all the members of
the www.chimai.com website. Of the 1200 e-mail addresses collected over the past ten years, it
appeared that more than a third were invalid. Maybe they had never been valid, since there was
no e-mail verification upon registration, or maybe they had become invalid in the meantime.
However, there was an excellent response from the e-mails which did reach their recipients. In a
few days, the download count went up to 120.
Accessibility appeared to be another issue. We thought it would be easy for existing or new
members to upgrade to a Premium account, which was the only condition to gain access the
fanzine. But there were many calls for support, and I can't imagine how many didn't even bother
calling for help and simply gave up. But we owe you an explanation about why Premium
membership was demanded. We could have simply put a link to the pdf file and counted the
downloads. But a first problem would have been the impossibility to find out if one same person

1 We take this opportunity to thank the webmasters and moderators of these sites for their support in this enterprise.

3

——— ——
by Didier Thun usMAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #2 JUNE 2013
was downloading multiple times: the only identifiable attribute of a downloader would have been
his or her IP address, and we know that IP addresses change. Besides, we would still have lacked
a reliable mailing list of people who have downloaded the first issue. The Premium approach
brings us identification and e-mail verification.
Secondly, we felt it would have given a “lower” statute to the fanzine, like a vulgar document
that would circulate on the internet amongst thousands of other publications. Note that our
approach doesn't make it impossible or even complicated to circulate the fanzine freely, but by
imposing identification, we made sure it would circulate inside some sort of community, or just
beyond its borders, between people who are interested and who would read it. Yes, it required
some extra effort from each of you, but one has to deserve one's copy of the fanzine, and we were
here to help in case of problem. We still are.
All in all, we ended up with a download count of 150 after 2 months, which is about the number
of MSV members by the end of its life. Can we hope for much more in the future? It's always the
same numbers which come back: there are between 150 and 200 different visitors who visit
www.chimai.com every day, the weekly specials are downloaded by between 100 and 150 people
every week, there are about 160 registered members in Cali’s forum; the limited editions of
Morricone CD's are usually of 300 copies. So we cannot expect thousands of downloads, neither
had we to fear for just a dozen of them. We also believe 150 is good enough to continue to
convince contributors to write articles. It would probably not have been motivating enough for
less than 100.
Regarding quality, we were quite satisfied with the contents of the first issue. We were able to
attract the usual suspects of MSV (Laurent and Steven, in addition of course to Patrick and
myself), and to have new contributors from Hungary, China and Kazakhstan. Still no Italians
though, unfortunately. And no women. The subjects covered were very varied, ranging from
album to concert reviews, dossiers, in-depth analyses, about periods from the Sixties to the
2000’s. On the down side, very few of the contributors are native English-speakers, and we are
conscious that several of our texts could be improved in terms of grammar or vocabulary.
However, we do not want to put the bar too high on this matter, because it would be a too big
obstacle to attract new contributors. It keeps an amateurish side to the fanzine, but we don’t
believe it is a real problem. At least, there shouldn’t be too many spelling mistakes. A small
reminder in this context: you can send us your contributions in any widespread language (French,
German, Italian, Dutch), and we’ll do our best to come up with a proper English translation.
A potential advantage which we decided not to take on board was the versioning. Once an issue is
published, it is published. There will not be new versions of it with corrections (except maybe in
a case of force majeure), even though it would be technically easy to do. But we would end up
having our readers wondering if they have the right version, or waiting for longer before they
download the issue, or print it several times. So we want to make it easy, and corrigenda are
always possible in the following issues.
Regarding sustainability, the good news is that the time required to manage this new version of
the fanzine is compatible with our schedule. The ann

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