Maestro, the Ennio Morricone Online Magazine, Issue #6 - December 2014

thPER UN PUGNO DI DOLLARI Celebrating the 50 Anniversary
IL GRANDE SILENZIO Soundtrack Releases
MICHAEL FRASER, MUSICIAN Interview
NESSUNO DEVE SAPERE Well kept secrets
I DEMONI DI SAN PIETROBURGO Score Review


...and more

ISSUE #6 December 2014
MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #6 DECEMBER 2014
Table of Contents
Preface ........................................................................................................................................ 3
In breve ....................................................................................................................................... 5
Old News ............ 14
Per un pugno di dollari : The Invention of a Genre ................................................................. 17
Rarities for Various Prices ....................................................................................................... 27
Nessuno deve sapere ................................................................................................................ 31
Chico Buarque vs Renzo Zenobi .............................................................................................. 38
Michael Brandon Fraser: Interview .......................................................................................... 43
I Demoni di San Pietroburgo: From Internal Imprisonment to Liberation .............................. 49
Il grande Silenzio : Soundtrack Releases ................................................................................. 52















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
PUBLICATION PERIODIQUE D'ETUDE ET DE CRITIQUE DANS LE DOMAINE ARTISTIQUE. LES TEXTES
SONT PUBLIES SOUS LA RESPONSABILITE DE LEURS AUTEURS, QUI EN CONSERVENT LA PROPRIETE
DES DROITS D'AUTEUR ET INTELLECTUELS.
All the articles are of purely informative nature. We do not own the copyright of the images
included in this document or of the audio clips accessible from it. All the rights on the images
and the music are the property of their respective owners.

Chief editors: Patrick Bouster and Didier Thunus
Front cover design: Valeria Magyar
Frr inlay: Anne-Catherine Mortiaux
Back cover: Pascal Tissier (Drawing from Jean Lhassa’s "Hommage au Maître, Ennio Morricone", Editions du
Centre d'Art d'Ixelles, Belgium, 1986)
2
MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #6 DECEMBER 2014
—————PREFACE—————
Cultural Exceptions?
by Patrick Bouster
After many CDs in 2013 and early 2014, the second half of this year has little to offer, as you
will read in News. In an apparently “blank” year, and in spite of the operation at his back,
some compositions were made by the Maestro, often not performed and never published so
far (see the News as well).
The year 2015 will be more exciting: the new Tornatore, and maybe, without certainty, other
projects like those for Raoul Bova (Ultimo 5 and Come un delfino 3, TV mini-series already
planned). But some surprises could arrive… After a full health recovery, we hope that our
dear composer will go on to work for the cinema or the TV, with not too much concerts in the
future (see announcements in the News section).
Our fanzine is usually not directly linked to the news, and this issue more than ever. In a
thcertain sense it does contains news: the 50 anniversary of Per un pugno di dollari (For a
fistful of dollars), making it de facto a special number, allowing to come back on many
aspects of the film, in a big dossier.
Besides our co-founder and regular contributor Didier Thunus (for the rare Nessuno deve
sapere), the faithful Steven Dixon (for two arrangements albums – his specialty – and for Il
grande silenzio), we welcome new contributors. Together with Frédéric Durand, for the
second time, we have pure newcomers Richard Bechet (about CD prices), and Hervé Bouchot,
connoisseur of Morricone and other film and classical composers (for the reissue of The
Demons of St. Petersburg). So, totally by chance, it is a very French issue, but we hope there
will be other nationalities contributing in the future. We are sure to have Italians sometimes,
but we need other people, like Americans, Japanese, Germans, and others.
A link to the original text is available at the top of the article. It will be always the case for
every article written in another language than English, in order to facilitate the reading by
non-English speaking people. This way we also respect the original language, which when
translated, looses some parts of accuracy and its inimitable savour.
This asks the question of the identity, the culture, in an open world. Some products and ways
of life rule the world, through wide communication and marketing. So that the “seduction”
from the strongest culture squeezes everything, submerging cultural identities, habits and
dictates the crowd’s choices. Every country, continent or region does (or did) possess a
particular way of thinking and living, without rejecting the other ones (apart from some
extreme minorities), which allows people to exist and to recognize a shared culture. Of course
money and commercial exchanges try - and succeed - to create a world culture for financial
reasons: super-heroes, music for idiots, demagogic or childish films, bad food are then easier
to sell all over the world.
The TAFTA (Trans-Atlantic Free Trade Agreement) project of a general agreement between
North America and European Union, not much publicized yet as it is already done, is the
perfect illustration of these tendencies. Uniformity, banalized and then inferior products, are
of course perfect conditions, an ideal system for multinational companies. In front of this
ideology, we have the right to not accept to watch Spiderman #12, too much 3D films,
3
MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #6 DECEMBER 2014
Expendables #5, and to let our future fat, without discernment and addicted children eat pop
corns, sweets and ice-cream. You can mock some ridiculous European president, the shameful
Italian TV, and you will be right, so we can refuse to hold weapons in streets (or even at
home) or to not have a public or general health insurance for everyone. In a good number of
European countries, the book, the CD, the film is a cultural product, even if it is sometimes
“industrial”. Unique price for new books, financial help for the cinema production, other rules
make a peaceful cultural environment, not depending entirely on the market. That is called
“cultural exception”.
Leone knew very much American cinema and worked with great American directors as
assistant (or second unit directors, shooting some scenes). His films contained winks,
references to this cinema but didn’t repeated it, transforming it in his own way and style to
build something very different and personal. Here is a great lesson of a personal language, in
which references don’t
prevent the invention of a
new genre, not following
the former one.
After Berlusconi’s dumb
TV widely developed, the
non protected cinema
market in many countries,
cinema outside USA is
alive, in Japan, Australia,
France, India, Russia and
sparsely in other countries
like Italy, Spain, England.
No fatality, only a matter
of political choice.
Leone proved, as other
creators such as Coppola,
De Palma, Scorsese (all
Italo-Americans!) that a
strong identity of style is
able to catch a big
audience with respect and
intelligence, and to
communicate to the wide
world. As the cliché says,
when you are free, you can
express yourself to
everyone.





4
MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #6 DECEMBER 2014
—————NEWS—————
by Didier Thunus (except where noted)
In breve
Immobile n.3
On December 2, 2011, a concert called “Omaggio a Ennio Moricone” took place in the
context of the “Concerto d’inverno” series of concerts, at the Chiesa Parrochiale di San Marco
of Calcinato (Brescia). The programme was intriguing because, apart from the already
published Quattro anacoluti per A.V., Se questo è un uomo, Immobile n.2, and a couple of
film music cues – all conducted by Andrea Morricone and played by the Roma Sinfonietta –,
a piece entitled Immobile n.3 was announced. The concert was broadcast live by the local TV
channel Teletutto, and a DVD, coupled with a CD, was published in 2012 by the
Associazione musicale Concerto d’inverno in very few copies, probably impossible to find
today. It provides the answer to our question, and it is a very surprising one: Immobile n.3 is
actually a re-arrangement for smal