|1.||Amore e Libertà (Titoli di testa)||1:07|
|3.||Amore e Libertà (Pianoforte solo)||1:19|
|5.||Amore e Libertà||3:57|
|7.||Scena D'amore *||*Music composed by Francis Lai||1:47|
|8.||Sequenza incendio / Amore e Libertà||2:04|
|9.||Tema della Follia (per orchestra d’archi)||2:20|
|11.||La Partenza / Amore e Libertà (per orchestra d’archi)||1:53|
|13.||L'araldo / La Lettera||0:58|
|14.||Amore e Libertà||1:19|
|15.||Tema d'Amore *||*Music composed by Francis Lai||3:12|
|16.||Tema della Follia (Chitarra e archi)||2:17|
|17.||La Rivolta 2||1:44|
|18.||Tema della follia (Mix 2)||1:39|
|19.||Tema d'Amore * (Versione breve)||*Music composed by Francis Lai||1:10|
|20.||La morte di Masaniello (Amore e libertà)||2:58|
Werba’s music quality, alongside Lai’s theme, creates a very fortunate, world class duo. In fact, the score is constructed around several main themes, among which stands out the one dedicated to Masaniello, the protagonist, for whom Werba creates a moving, epic theme that can be heard in the Titoli di Testa, the main credits.
In 2006, film director Angelo Antonucci managed to get off the ground the project of adapting to the big screen his take on the life of the revolutionary Masaniello, who revolted against the Spanish viceroyalty in Napoli at the end of the XVII century, and who got the Neapolitan Republic’s declaration five months after his death.
Werba’s music quality, alongside Lai’s theme, creates a very fortunate, world class duo. In fact, the score is constructed around several main themes, among which stands out the one dedicated to Masaniello, the protagonist, for whom Werba creates a moving, epic theme that can be heard in the Titoli di Testa, the main credits. The main instruments are the horns, alongside guitars and flutes, besides the Orchestra’s Choir. The theme can be heard as well in a great piano solo, performed by the composer himself in the track Amore e Libertá (Masaniello). Following in importance is Lai’s theme, which first appears in the Scena d’Amore (Love scene), with flutes and guitars as the main instruments. It’s a beautiful, lyrical theme, which the Italian composer uplifts masterfully. Finally, it’s worth to mention the theme around the protagonist’s madness (Tema de la Follia), of great dramatic intensity, not without some melancholic chromatics very noticeable in its guitar and orchestra version. We can mention as well Werba’s variations conducting the orchestra in the sequences regarding the revolution, represented by La Rivolta, La Rivolta 2 and by the orchestral and coral tutti closing down the recording, and also by the epic climax titled Insurrezione, originally supported by a synthesizer to establish a rhythmic pattern that transforms the piece in a victorious march. Without a doubt, the score is amongst Marco Werba’s finest and most elaborate works, a composer with a long, extremely varied professional career, whom the music fan can also enjoy in another of the works recently published by Rosetta, Made in China, Napoletano. A comedy now joined by this emblematic historical soundtrack, one of his highest and most celebrated creative summits, where Werba proves a mastery over melody and lyricism belonging to a real author, undeniably from the Italian School, running along the epic and dramatic atmosphere required, and whose listening will leave and unforgettable taste in the music fan’s palate.