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Artwork copyright (c) 2004 Sony BMG Music
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2004 James Southall
The temptation to make a quip about
"Yo-Yo Ma Plays Ennio Morricone" was difficult to resist, but I shall
say only this: I wonder who won |
YO-YO MA PLAYS ENNIO MORRICONE Stunning
compilation: the way these things should be done A review by JAMES SOUTHALL Film music compilations are ten-a-penny these days, with most
anyone going off to Eastern Europe to record essential new versions of the
themes from Lord of the Rings and Gladiator for the mass
market. Of course, these are of little or no use to the devoted film music
lover and, while they probably suit the casual fan just fine (and no doubt sell
in vastly higher numbers than most actual original score albums) they have the
unfortunate effect of painting a fairly gloomy picture of film music to the
more, shall we say "musically mature" listener. Sometimes,
though, the best composers revisit some of their previous music and bring us new
versions which are presented in a new and interesting format. This happens
unfortunately rarely, but in recent years the composer doing it most
impressively has been Ennio Morricone. He's certainly got enough back
catalogue to choose from (and is the one film composer above all others for whom
"sampler albums" would be very useful indeed) and over the last couple
of years the three albums three simply stunning Morricone compilation albums
have been released, stunning not only because the music is so good (that is a
given) but because he has arranged it in such a striking manner.
"Cinema Concerto" was a good sampler of some of the composer's most
familiar themes in his reorchestrated concert arrangements; "Music for
Film" was a sublime collection of his themes rearranged for piano, viola,
violin and flute; and "Arena Concerto" a good followup to "Cinema
Concerto". Now a fourth essential Morricone compilation has been
released. "Yo-Yo Ma Plays Ennio Morricone" does what its title
implies, but the composer has given us a real treat by offering sometimes
significantly-altered versions of his music arranged especially for Ma and his
cello, all the while retaining the spirit that made the pieces so impressive in
the first place. The idea for the album was borne when the legendary
cellist met the equally legendary composer at the Oscar ceremony a couple of
years ago. Morricone has compiled six suites of music, mostly played
continuously. The album begins with a fairly short suite from The
Mission and it is clear from the outset that this is something special, with
Morricone employing the cello not only as the lead instrument but frequently to
provide countermelody in other sections ("Gabriel's Oboe" first sees
an exquisite cello performance, later developing into the familiar oboe
performance with Ma weaving his way around in intriguing and rewarding
fashion). This sets the tone for the rest of the album, with Ma's
performances raising even the most beautiful of Morricone's themes to new
heights. Particular mention must be given to the suite from Sergio Leone
movies - "Deborah's Theme" from Once Upon a Time in America is
quite wonderful, with the cello providing as lilting a performance of the theme
as the soprano did in its original incarnation, and the same could be said of
the main theme from Once Upon a Time in the West, which is as
heartbreaking a theme as it always has been. One of the album's most
striking cues is "Ecstasy of Gold" from The Good, the Bad and the
Ugly, arguably the composer's most extraordinary piece of music - but of all
the pieces here, it was the one which most made many fans scratch their heads
when the album's tracklist was originally announced - it is such an idiosyncratic
piece it was difficult to imagine how it could possibly work in this setting,
but work it does, beginning with the piece's main melody being heard in a truly
mournful, slow arrangement for cello and orchestra before developing into an
amazing cacophony of sound which is simply awe-inspiring. After The Mission and a suite each for directors
Giuseppe Tornatore, Sergio Leone and Brian de Palma come two suites of music
which may be less familiar to some, but which show off the composer's ability to
produce magnificently beautiful themes as well as anything. The first
features music from Moses and Marco Polo, the latter of which is
one of Morricone's very finest themes, and the second has two pieces from La
Califfa which are lusher and fuller, and just as rewarding. Finally
(and strangely), exclusively to those who buy the CD from Borders in America
come two bonus tracks, featuring beautiful versions of the themes from The
Legend of 1900 and The Mission for piano and cello only. These
should undoubtedly have been featured on every version of the CD. With the shockingly low quality of most of 2004's new film
music, it is reassuring to be reminded just what the genre can produce in the
hands of a truly gifted composer, and this release is undoubtedly the
outstanding album of the year so far. Composer and performer are both at
the top of their games and this one can't be missed. Buy
this CD from amazon.com by clicking here! Tracks |