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马涌专栏-20
联系邮件请发 1145983425@qq.com
非关命运 (TA0402)
Sorstalansag / Fateless (TA0402)
非关命运
无与伦比的莫里康内,杰出的、令人振奋的配乐
詹姆斯 绍索尔   中译文 马涌
原文出自:http://www.movie-wave.net/titles/fateless.html
评论版权所有(c),詹姆斯·绍索尔,2013年1月13日

 

埃尼奥·莫里康内一直以来都是极具创意的作曲家,其以电影配乐闻名于世,他的音乐听起来与众不同,而且他不断地创建全新的音乐风格,他与塞尔吉奥·莱昂内的合作成果成为了根深蒂固的广受欢迎的精神文化。事实上,他的工作重心主要是在意大利,四十年来他在那儿一直受人尊崇,这意味着他为大预算电影的工作在很大程度上是随心所欲的,这使得他能够进一步拓展创意界限,他本来可以在好莱坞做到这一点。在他76岁的时候,可以想象他所说的一切,他可能会说,将主题确定下来,创作他感兴趣的偶然项目;在他2005年谱写的6部配乐当中1,仅有半数的音乐归功于他,我们可以马上反驳这种说法,事实上,它们包含了已经证实的一些最优秀的电影音乐,他并不是躲在后面走走过场而已。无疑,《岩洞里的心》2和《卡罗,一个成为教皇的人》是到目前为止非常优秀的两部配乐。然而最优秀的是《非关命运》,它是为著名的匈牙利电影摄影师拉约什·科尔泰的导演处女作创作的。

这部影片基于凯尔泰斯·伊姆雷1975年的小说《无命运的人生》(Sorstalansag)改编,讲述了纳粹大屠杀期间一个14岁的匈牙利犹太男孩在集中营中的经历,其获得了2002年诺贝尔文学奖。这种悲惨的电影对莫里康内来说并不陌生,不过这部配乐主要侧重于直面战争恐怖与令人振奋的、充满希望的和人文本质的音乐,而不是专注于集中营的残暴和恐怖。对莫里康内职业生涯稍感兴趣的人都会熟悉歌唱家艾达·戴洛尔索为他的一些最辉煌的配乐做出的精彩贡献。自从她上一次与这位作曲家合作,已经过去很多年了,而且莫里康内比较避免谱写无言的声乐作品,至少在人声独唱方面;不过《非关命运》有所变化,那就是一个令人印象深刻的和漂亮的贡献来自于无处不在的丽莎·杰拉德。无疑,自从《角斗士》之后她已经与汉斯·季默紧密相连并且成为他附属的收获物,这个音乐甚至引发了各种雷同的试图仿效她的音乐风格,这已经成为电影音乐滥用无度和刺激性一个方面-正因于此,你可能有些忐忑不安,你会考量她致力于这部配乐的前景,尤其是因为它将不可避免地导致她与戴洛尔索之间的比较。

幸好,莫里康内并不打算让她的声音听起来像戴洛尔索的,而且莫里康内的旋律截然不同于季默为她创作的那些东西(也许,实际上她已经为自己创作了音乐)。她的歌声听上去一向富有表现力而且相当独特,此时呈现出一种更加典型的、近乎歌剧式的声音,她的"吟唱"是无言的,恰恰如此,她那与众不同的音调给人的感觉几乎是她的歌声像某种虚幻的语言。她的声音首先可以在回归生命里听到,之后在一首歌里演化,还有其他的线索,它们是非常美妙的音乐。

它们是如此地令人印象深刻,坦率地说,这些引人注目的乐曲参与的这张专辑连同相同品质的其他几支曲子是与众不同的。这部配乐的主题音乐非关命运开启并结束了这张专辑,依稀有这位作曲家精彩的被拒绝了的《美梦成真》配乐的影子。前面提到的回归生命简直优美极了,其开启于一个由弦乐伴奏的双簧管独奏的丰盛的主题,之后由合唱团和膨胀的小提琴担当,然后是杰拉德的人声哼唱,最后以一个压抑的排箫独奏结尾,它表现了剧情阴暗的一面。它是莫里康内每隔一两年都会谱写的另一种作品,它简直使听者吃惊到难以置信,因为它是如此令人心碎地美妙。营地引入了接下来的主题音乐,一支优雅强大的、激动人心的曲子似乎带有《越战创伤》的轻微呼应,一种特别的情感和凄美的反思呈现出这部电影的悲惨特征。主题音乐是不断推进的,其以完全不同的管弦乐设定,在再次回家当中,莫里康内赋予它一个明显乐观的、充满希望的曲调,这次使用木琴和钢琴引入旋律。 在悲剧的开始中,排箫承担了更加突出的作用,曲目标题名副其实。尽管多年以来这种乐器遭受了很多负面评价,莫里康内还是在这支曲子里以令人排斥的活力运用排箫增添了一种十分人性化的声音到影像里,不过它非常奏效。由于排箫频繁出现在这张专辑里,该线索与随后的曲子形成了对比,一首歌重现了丽莎·杰拉德的素材,其有着非常惊人的效果。心理毁灭巧妙地扮演了互相抵消的硬币的正反面,悬念与悲剧由小军鼓提出,一些棘手的弦乐编排由几乎飙升的主题音乐素材抵消。

关于孤独再度呈现了回归生命的主题,这次采用了一个更加令人振奋的、精妙的编排,由一个简单有效的风琴独奏片段支持,它是除莫里康内作品之外,你难得听到的曲子之一。回归与记忆引入了一个新的主题,由扬琴独奏担当,因其独特的民俗风味氛围,它是一支尤其动人的匈牙利乐曲。内心的声音再次结合了风琴独奏与杰拉德的人声,效果令人如痴如醉。在这个重复的主题之后,莫里康内为这张出色的专辑创造了一个辉煌的结尾。莫里康内曾经谱写过如此令人心碎的旋律,他在一个稍微不同的方向上再次扩展,传达了什么样的配乐才是2005年至今最牢固的优秀配乐。不过事实并非如此,或许,某些莫里康内配乐不会立刻令人满意,然而通过反复聆听,不断揭开新层面的音乐,你会发现更多的色彩,更加深入音乐内涵的美妙。它是令人振奋的、飞扬的、令人难以置信的优美的音乐,只是我无法过高地推荐它。

专辑曲目及信息(CD EMI 8603312 - United Kingdom - 2005)3


1/1 3:08 Fateless 非关命运

1/2 5:57 Return to Life 回归生命

1/3 3:30 The Field 营地

1/4 1:50 Home Again 再次回家

1/5 4:01 The Beginning of the Tragedy 悲剧的开始

1/6 1:55 A Song 一首歌

1/7 2:44 At Table 在餐桌上

1/8 2:00 Psychological Destruction 心理毁灭

1/9 1:34 About Solitude 关于孤独

1/10 1:54 To Return and To Remember 回归与记忆

1/11 3:35 A Voice From the Inside 内心的声音

1/12 0:47 A Mirror 照镜子

1/13 2:41 About Solitude II 关于孤独II

1/14 1:54 Voiceless 无声

1/15 4:35 Fateless II 非关命运II


作曲,管弦乐编曲,指挥:埃尼奥·莫里康内
乐团:匈牙利广播交响乐团(Hungarian Radio Orchestra)
合唱[音轨2,6]:匈牙利广播合唱团(Hungarian Radio Choir)
女声[音轨2,6,11]:丽莎·杰拉德(Lisa Gerrard,澳大利亚)
排箫[音轨1,2,5,10,15]:乌尔里希·赫肯霍夫(Ulrich Herkenhoff,德国)
匈牙利扬琴[音轨2,5,6,10]:阿格妮丝·莎卡莉(?gnes Szakály,匈牙利)
音响合成:路德维哥·富尔奇(Ludovico Fulci,意大利)

1 据 http://www.chimai.com/index.cfm?module=FMG&id=1,2005年大师的6部配乐包括:《非关命运》,《卡罗,一个成为教皇的人》,《露西亚》,《悲壮的阿古依师》,《玩游戏》,《黎明指令》。
2 据 https://it.wikipedia.org/wiki/Il_cuore_nel_pozzo,《岩洞里的心》(Il cuore nel pozzo)发行于2005年,而 www.chimai.com 将其列入2004年作品年表。
3 http://www.chimai.com/index.cfm?module=MUS&mode=ALB&id=2702
https://www.discogs.com/Ennio-Morricone-Sorstalans%C3%A1g/release/2614049
http://music.163.com/#/album?id=2070001,https://en.wikipedia.org/wiki/Fateless_(film)

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参见本站电影网页 -1-2
参见本站音乐网页 -1-2
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FATELESS
Peerless Morricone dazzles with exceptional, uplifting score
A review by JAMES SOUTHALL

Ennio Morricone has always been the most creative of the composers who are best known for their work in film, sounding like no other and just inventing whole new styles of music along the way, with his Sergio Leone collaborations becoming ingrained into the popular psyche. The fact that he has worked predominantly in Italy where he has been revered for virtually four decades has meant he has largely been free from the constraints of working on big budget studio pictures, allowing him to stretch the creative boundaries far further than he would have been able to do in Hollywood. At the age of 76, one might imagine that he has said everything he could have said and would be content to settle back and write occasionally for projects which interest him; that he has written six scores already in 2005, and it is barely half way through, disproves that notion instantly, and the fact that they contain some of the finest film music written by anyone shows that he is hardly sitting back, going through the motions. Indeed, Il cuore nel pozzo and Karol are two of the very finest scores of the year so far. The finest is Fateless, written for the directorial debut of famed Hungarian cinematographer Lajos Koltai.

It is based on Imre Kersetz's 1975 novel Sorstalansag, about the experiences of a 14-year-old Hungarian Jews during in a concentration camp during the Holocaust, which won the Nobel Prize for literature. Morricone is no stranger to such harrowing films, but here has focused largely on playing against the horror with uplifting music full of hope and the very essence of humanity, rather than concentrating on the brutality and terror of the camp. Anyone with any passing interest in Morricone's career will be familiar with the wonderful contribution made to some of his finest scores by vocalist Edda dell'Orso. It's been several years since she last worked with the composer, and he has rather shied away from writing wordless vocal music since, for soloists at least; but Fateless changes that, with an impressive and classy contribution coming from the ubiquitous Lisa Gerrard. Of course, she has become closely linked with Hans Zimmer and his crop of underlings ever since Gladiator, and has even ushered in various soundalikes trying to emulate her sound, and it has become one of the most overused and irritating facets of film music - because of that, it may be with some trepidation that you considered the prospect of her working on this score, particularly since it would inevitably lead to comparisons between her and dell'Orso.

Fortunately, Morricone makes no attempt to get her to sound like dell'Orso, and his melody is vastly different from anything Zimmer has written for her (or, indeed, she has written for herself). Her voice, which has always sounded expressive and rather unique, now takes on a more classical, virtually operatic sound, with her "singing" being wordless, but only just, with her varied intonations almost giving the impression of her singing some sort of made-up language. First heard in "Return to Life" and later developed in "A Song" and other cues, it is an extraordinarily beautiful piece of music.

That such an impressive and, frankly, knockout piece of music shares the album with several others of equal quality is remarkable. The score's main theme, which both opens and closes the album, is vaguely reminiscent of the composer's magnificent rejected score for What Dreams May Come. The aforementioned "Return to Life" is simply exquisite, opening with a sumptuous theme for solo oboe with string accompaniment, before it is taken up by choir and swelling violins, then Gerrard's vocals before ending with a subdued pan flute solo representing the darker aspects of the story. It is yet another of those pieces Morricone writes every year or two which simply stuns the listener into disbelief, here because of the heartbreaking beauty. "The Field" introduces the next main theme, an elegantly powerful, stirring piece with slight echoes of Casualties of War, and a particularly emotional and poignant reflection of the harrowing nature of the film. The theme is developed, in an entirely different orchestral setting, in "Home Again", where Morricone gives it a distinctly optimistic, hopeful air, this time introducing the melody using xylophone and piano.

The pan flute takes on a more prominent role in "The Beginning of the Tragedy", a track which is very aptly named. While the instrument has received a lot of bad press over the years, Morricone uses it here to add a very human sound to images of what are repulsive activities, and it works brilliantly. As happens frequently with this album, the contrast between that cue and the one that follows, "A Song" reprising the Lisa Gerrard material, is breathtakingly effective. "Psyhological Destruction" neatly plays the two sides of the coin off against each other, with suspense and tragedy offered by the snare drums and slightly awkward string orchestration being counterbalanced by the almost soaring qualities of the main theme.

"About Solitude" once again presents the "Return to Life" theme, this time in (if anything) an even more uplifting, exquisite arrangement, backed by a simple yet effective part for solo organ which is one of those things you don't tend to hear anyone other than Morricone writing. "To Return and to Remember" introduces a new theme, played by solo dulcimer, which is particularly evocative of the Hungarian setting, with its folksy atmosphere. "A Voice from the Inside" combines the organ solo with Gerrard's vocals and, once again, the effect is mesmerising. After this come reprises of the main themes, which make a brilliant end to what is a superb album. Morricone has written such heartbreaking melodies, branched out in a slightly different direction yet again, and delivered what is firmly the best score of 2005 so far. It is not, perhaps, as instantly satisfying as some of Morricone's scores, but repeated listens continue to reveal new facets to the music, more colours, more depth to the beauty. This is uplifting, soaring, incredibly beautiful music and I couldn't recommend it more highly.

Buy this CD from amazon.com by clicking here!

Tracks

Fateless (3:12)
Return to Life (5:59)
The Field (3:29)
Home Again (1:52)
The Beginning of the Tragedy (4:01)
A Song (1:55)
At the Table (2:45)
Psychological Destruction (2:02)
About Solitude (1:36)
To Return and to Remember (1:55)
A Voice from the Inside (3:34)
A Mirror (:46)
About Solitude II (2:44)
Voiceless (1:54)
Fateless II (4:41)

 

 
 
 
Movie see 01 ,02
OST see 01, 02
志愿者 马涌(Chi Mai)
志愿者 马涌(Chi Mai)
报名日期 2011.11.30
所在地及职业 云南 职员
个人简介 年近不惑,云南楚雄人。毕业于昆明工学院,工科出身,一直从事财务工作。平日喜好看书、看电影、听音乐、练书法。崇拜莫翁,爱好意大利西部片和赛尔乔·莱昂内、黑泽明、小津安二郎等大师的作品。
作业记录
1.《特多 莫多》电影字幕 130412
2.《美國往事》經典臺詞翻譯 131108
3.《黄昏双镖客》 海报艺术 131119
4. 公共领域 140318
5. 莫里康内的04慕尼黑音乐会,08威尼斯音乐会中文字幕140531
6. 近20年莫里康内音乐会清单 140630
7. 埃尼奥·莫里康内的音乐 :一个音乐的乌托邦?140724
8.《西部往事》主题曲回顾 150101 (原创
9. 伟大的沉默:原声大碟发布 150112
10. 好教皇,教皇约翰二十三世 150224
11. 卡罗,一个成为教皇的人 150225
12. 卡罗,教皇其人 150301
13. 趴下,你这傻冒儿 150317
14. 一大把炸药:艺术品 150415
15. 封面专题:八恶人 151010
16. 五月,迷人的花儿 151116
17. 封面专题:五月,迷人的花儿 151116
18. 五月,迷人的花儿 -- 莫里康内与法国:爱情故事仍在延续 151116
19. 埃尼奥·莫里康内十大电影配乐
20. 火星任务 151231
21. 八恶人 160106
22. 纳瓦霍乔:一向无所畏惧 160115
23. 左轮手枪 160129
24. 《通信》160223
25. 凯马达政变 160229
26. 无名小子 160229
感谢马涌朋友的持续努力和不懈支持!
敬祝各位朋友2016健康快乐,再谱新篇
 
 
2016.04.28
 
 
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