Maestro, the Ennio Morricone Online Magazine, Issue #9 - November 2015

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PREFACE: Ahead of Us - Didier Thunus (3)
NEWS: Cover Story, In breve, Old News, Web News, Additions to Previous Issue - Didier Thunus and Patrick Bouster (4-15)
SCORE REVIEW: En mai, fais ce qu’il te plaît: Morricone and France, the love story continues - Patrick Bouster (16-21)
ANALYSIS: Fabulosi parlari, or Notes and Ideas for an Unfinished Morriconian Symphony, Part 1 of 2 - Randolph Carter (22-39)
ANALYSIS: The Ennio Morricone Vinyl Revival - Steven Dixon (40-45)
SCORE REVIEW: Per qualche dollaro in più: The score that went astray - Patrick Bouster (46-53)
SCORE ANALYSIS: Le Professionnel Reconstructed: The Director’s Cut - Didier Thunus (54-65)
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LE PROFESSIONNEL Reconstructed
FABULOSI PARLARI The Musical Language of the Maestro
thPER QUALCHE DOLLARO IN PIÙ Celebrating the 50 Anniversary
COVER DESIGNS AND COLOURED DISCS The Vinyl Revival
EN MAI FAIS CE QU IL TE PLAÎT Exclusive interview with the Director
...and more
ISSUE #9 November 2015MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #9 NOVEMBER 2015
Table of Contents
Preface: Ahead of Us.................................................................................................................. 3
Cover Story: En mai, fais ce qu’il te plaît 4
In breve....................................... 5
Old News.................................................................................................... 9
Web News 12
Additions to Previous Issue...... 12
En mai, fais ce qu’il te plaît: Morricone and France: the love story continues........................ 16
Fabulosi parlari, or Notes and Ideas for an Unfinished Morriconian Symphony - Part 1 of 2 22
The Ennio Morricone Vinyl Revival................................................................ 40
Per qualche dollaro in più: The score that went astray............................. 46
Le Professionnel Reconstructed: The Director’s Cut............................... 54
thThis issue of Maestro was written before the attacks on Paris of November 13 . Its contents might look puerile
now. But life must go on. This is the best answer we can give to the actions of those soulless killers. As
Morricone said after the attack on Charlie Hebdo in January (see p.16): "And now, Cinema!"
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 PÉRIODIQUE D'ÉTUDE ET DE CRITIQUE DANS LE DOMAINE ARTISTIQUE. LES TEXTES
SONT PUBLIÉS SOUS LA RESPONSABILITÉ DE LEURS AUTEURS, QUI EN CONSERVENT LA PROPRIÉTÉ
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
Front cover inlay: Anne-Catherine Mortiaux
Back cover: Gotlib, “Spaghetti western” (page 1), in “Rubrique à brac” tome 2.MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #9 NOVEMBER 2015
P REFACE
Ahead of Us
by Didier Thunus
I used to envy the ones amongst us who were old enough to have lived through the Sixties and
Seventies, discovering each and every new Morricone score as they were published. How
thrilling it must have been to come across a new Morricone credit almost every month and run
to the nearest disc shop to buy the album. In February, Once Upon a Time in the West; in
March, Il grande Silenzio; in April, Gli intoccabili. And it went on and on like this, for years
and years. However, as years passed and we learned how exactly things were during that period,
I realized it mustn’t have been such a thrill after all. Most of the Morricone-scored movies were
only released in Italy, which made them almost unheard of in other parts of the world, and only
a few of them got an album release. Without the internet, the fans had to rely on resellers
catalogues or dealers newsletters to locate the recent releases. So in reality it was not until the
Eighties that most of the Morricone discographies began to be revealed and records were widely
available. I was lucky enough to enjoy that period fully, but also stupid enough to believe that
my forerunners had been even luckier than me. The speed at which new scores were appearing
started to decrease in the Nineties. The record shops and cinema magazines were the best places
to locate new Morricone credits, and I was eagerly browsing through them whenever I could.
MSV could have been another precious source, but I wasn’t subscribed yet. Internet then
became the predominant source of information.
The reason why I’m retelling those memories is not because I feel melancholic tonight, but
rather to invite you to compare those times through which you went yourself, to the one we are
going through at this moment. We are in 2015 and, yes, we are still blessed with such a period
which most of our successors will envy us for. In November, it is En mai fais ce qu’il te plaît;
in December, it is The Hateful Eight; in January, it is La corrispondenza. And there will be
a CD release each time. I don’t think it will go on and on like this for years again, but why
bother, let’s just enjoy these moments.
When Ennio said, upon receiving his Honorary Oscar in 2007, that he considered this prize not
as a point of arrival but as a point of departure, I think nobody believed him. It was a noble
wish but it didn’t look realistic for a penny and was almost funny. Well he is proving us wrong
now. Ennio Morricone is already legendary for his stunning contribution to the art of film music,
but now also because of the span of his oeuvre over so many decades. He is 87, but he doesn’t
only invite us to look back at his oeuvre through his live concerts: he also makes us look ahead
of us eagerly waiting for new wonders to come into sight.
Patrick Bouster had the opportunity to attend a sneak preview of En mai and to interview the
director. He will make us benefit from his impressions in the following pages. Opportunistically,
Randolph Carter (an Italian in spite of his lovecraftian pen name) will revisit the different
periods of the Maestro’s work, in a long and insightful article for which we present the first part
in this issue, and the second one in the next issue. These, together with the usual news items
and more articles written by the usual suspects, make up this new issue of “Maestro” which we
are very happy to share with you.
3MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #9 NOVEMBER 2015
N EWS
Cover Story: En mai, fais ce quil te pla ît
by Patrick Bouster
Flashback to late 2014: I learnt through an indirect source that Ennio Morricone got a French
assignment. A film taking place during WWII, more precisely at the beginning of the exodus
after the defeat of May 1940. Browsing on the internet through the future releases of the first
half of 2015, I found nothing. Around mid-January 2015, an Italian correspondent wrote to me:
the Maestro recorded a new soundtrack, entitled Esodo (Exodus). We were dealing with the
same assignment. And yes, it was recorded! It’s definitive and will be surely used, contrary to
Un crime (France, 2006), I thought. And consequently, Morricone’s last official French film,
La cage aux folles III (1985) is finally superseded.
Planned to be released in spring 2015, the film was postponed to the autumn. If the assignment
had only been done 2 or 3 months later, it is almost certain that Morricone would have declined:
afterwards, there was the concert tour reprise and the Tarantino movie. A little miracle.
We will detail in a longer article the film process, with a text by Christian Carion, director, from
the French press kit (see p.16), informative, different from the crossed interview between him
and Morricone that is included in the CD booklet.
Christian Carion started his series of avant-premieres around mid-September 2015 and came
down to more Southern territories of the country. At one of these avant-premiereq, as planned
with the cinema center, I was able to obtain an exclusive interview with him (see p.19).
We will conclude with some impressions on the Quartet Records CD (see p.20).
4MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #9 NOVEMBER 2015
In breve
Concert Activity
Nothing can stop the Maestro
Just when we thought Ennio’s health was back for good, during the night of August 2 to August
3, he fell off his bed and broke his femur, a terrible thing
for a man of his age. His doctor of course wanted him to
cancel the concert at the Arena di Verona on September
th12 . But Ennio didn’t want to give up so easily, and
decided to conduct the orchestra sitting on a
1wheelchair . I don’t think this has happened a lot in any
2conductor’s career . Because of this, he started the
3concert with a speech – a very unusual thing for Ennio
(he did it in Ghent in 2000 because he would be
conducting the orchestra on the images of the movie
Richard III, and on several other occasions, but very
rarely). He wanted to explain why he was on a
wheelchair. His voice sounded very self-assured and
alert – which was reassuring – even though he collapsed
in tears on several occasions. A very moving moment. This shows how much these successive
tours matter to him. It’s definitely not only his producers who relentlessly send him on the road
– he certainly wants to do that, sometimes beyond reason.
The concert was a huge success, and included 2 nice surprises: he played Il forte from The
Good, the Bad and the Ugly (this must have been the second time only after the Rome concert
in Ju

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