The Essential Nino Rota


Silva Screen Records (0738572036928)
Silva Screen Records (0738572115326)
Film | Releasejaar: 2003 | Medium: CD, Download
 

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# Track   Lengte
The Taming of the Shrew
1.Overture4:22
 
The Glass Mountain
2.Legend of the Glass Mountain4:10
 
Romeo & Juliet
3.Romeo5:31
4.Juliet2:07
5.Feast at the House of Capulet1:59
6.Love Theme2:42
7.Epilogue3:15
 
Death on the Nile
8.Nile Journey2:49
 
The Godfather Parts 1 & 2
9.Waltz3:44
10.Love Theme2:45
11.Sicilian Patorale - The Immigrant4:18
12.Finale4:14
 
Juliet of the Spirits
13.Suite7:17
 
La Dolce Vita
14.Suite7:22
 56:34
# Track   Lengte
1.Histoires Extraordinaires - Toby Dammit3:38
2.Lo Sceicco Bianco2:46
3.Otto e Mezzo5:14
4.I Vitelloni3:01
5.Il Bidone4:48
6.The Nights of Cabiria6:08
7.Boccaccio '701:27
8.Fellini Satyricon3:05
9.I Clowns4:20
10.Roma3:50
11.Amarcord5:09
12.Casanova3:25
13.Prova D'Orchestra4:04
14.La Strada - Suite6:38
 57:33
Schrijf zelf je recensie Verberg reviews in andere talen

 

The Essential Nino Rota - 08/10 - Recensie van Tom Daish, ingevoerd op (Engels)
While never quite acquiring the cult status of countryman Ennio Morricone, Nino Rota has contributed enough famous music to cinema, in both Italy and Hollywood, to be considered as one of cinema's most renowned composers. There are a few Rota compilations, but this is one of the most representative to date and as usual, Silva have produced an album that makes for an excellent starting point for discovering Rota's oeuvre. The first disc is more well known material, neither Romeo & Juliet or The Godfather films requiring introductions and both treated to extended suites. However, the album opens with music from The Taming of the Shrew, one of my favourite pieces of Rota, just a shame the soundtrack album is so dreadfully produced - one of the worst I can recall. Fortunately, the performance of its rousing Overture here is extremely good, with the same infectious, sunny enthusiasm as Doyle's Much Ado About Nothing decades later. Rota's score for La Dolce Vita is one of his more famous efforts and is fairly recognisable, which is more than can be said for Death on the Nile or Juliet of the Spirits, even though they more than qualify for equal fame.

The second disc is perhaps the more interesting; the selections cover a wider and more obscure range of films, although they do often make one realise that even composers as classy as Rota reuse their work. The most immediately obvious example opens the disc, Histoires Extrordinaires is simply a laid back version of his own theme from Amarcord (which features later on and was infamously borrowed by James Horner for Honey, I Shrunk the Kids) while Otto E Mezzo contains a slightly altered version of The Godfather theme. However, the context here is altered to make it the secondary part of a much more ebullient carnival tune, but even more strange is a bass guitar passage that recalls Anton Karas' The Third Man. Odd. The circus atmosphere, combined with elements of laid back jazz, run through quite a number of the tracks. Il Bidone starts with a wild circus march, but is subdued into the luscious main theme in the strings. Naturally enough, I Clowns has circus spectacle, many parts of which remind the listener of some Danny Elfman's earlier scores, particularly his Pee Wee music. Of course there are several sweeping orchestral tracks, notably Prova D'Orchestra, which features Rota at his romantic, winning best.

When not whipping up a frenzy of carnival atmosphere or invoking a little jazz, Rota's orchestral music is invariably in a pleasing and readily accessible romantic idiom. However, it's probably the bouncing bass lines and tuneful exuberance that stick in the mind longest. Whether it's the European influence or not, but Rota's music feels more timeless than that of a lot of his contemporaries and for that reason, is more readily enjoyable. Indeed, quite a lot of the music featured here is fun, verging on silly, but Rota does it so convincingly that it's not embarrassing, merely infectious and thoroughly entertaining. The more dramatic inclusions are much more subtle and convincing in their drama, with little of the melodrama that plagues some Hollywood scores of the period. The playing is generally good, with just the occasionally scrappiness and rawness (notably in the brass) during the faster and more vivacious passages. The sound is fine; clear without being harsh and expansive without being booming. This album doesn't quite have the virtuosity of Riccardo Muti's album on Sony Classical, but as a mid-price, double CD with longer selections and typically excellent liner notes, a worthy addition to any collection.


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