Ennio Morricone
C'era Una Volta In America

My favorite musician, my favorite film, my favorite actor, my favorite director (along with Kubrick), and my favorite soundtrack. All together.

Ennio Morricone needs no introduction. At least three generations know his soundtracks and appreciate the films they are part of. A composer tied to the influence of Bach and, as far as I am concerned, his true heir.

<In music, nothing is invented, everything that could be created and conceived has already been done by Bach.>(E. Morricone). I don't agree with this statement of his, but I don't find it entirely wrong. Anyway, it's clear that a musician who makes such a claim understands exactly where he draws his technical form from. In "Once Upon a Time in the West," we have the most glaring example of this. The famous composition that accompanies Claudia Cardinale from the train to the directorial opening over the station, revealing a blooming western world, is the clear demonstration of this. The sublime composition (considered by many to be his most beautiful) is clearly inspired by the Air on the G String (BMW 1068 no. 3 in D major), by the German composer.

Bach in music is formal perfection; unassailable, impeccable, untouchable. Morricone is the same thing in a modern key. Although revisiting ancient schemas and stylistic elements, he succeeded in imprinting his own personality and great intuition upon his compositions, adding to the ideas of his gigantic muse, innovations tied to instruments, timbres, and the chromaticism of composers closer to his time. Even if the ideal harmonic structure is of German influence, the melodic plots can only be of Italian inspiration. To mold the music to the images making them fit like a perfect suit is very complicated. Let's add that the music, besides being suitable, must also be beautiful, evocative, pertinent, and impactful, and the difficulties become clear to us.

In this soundtrack, Morricone creates (perhaps) his most exciting work. It starts with "Once Upon A Time in America," a soft orchestral breath that heralds the sense of melancholy and abandonment that pervades the entire film and the story itself. A bygone era made of drama and hopes tied to violence, to the innocence of childhood that shatters in front of inevitable growth. It continues with "Poverty," a piece of heartbreaking beauty, introduced by the Pan flute, so dear to the maestro. As far as I'm concerned, the third piece is one of the most beautiful compositions of all time: "Deborah's Theme." Every time I hear it, I get chills on my face and sometimes even a few tears from an incurable sentimentalist. And here Bach returns; the continuous bass and violins stretching long suspended melodies are the best way to honor him. The fourth piece is very famous; "Childhood Memories," opening with the syncopated and dramatic Pan flute, then flowing into a carefree thirties swing, only to return to the flautist's drama. The fifth piece is "Amapola," a slow, poetic waltz like youth gone by. Music that smells like an old and dusty ballroom suspended on a cloud. From here on, tracks and melodies will be fused into one another as every conceptual musical work demands. The harmonies are overlapped or integrated with other instruments. Some melodies are modified and violins are replaced with trumpets or with more functional instruments for the story. By the end of the listening session, you are overwhelmed with the desire to go back and watch the film. You watch the film and are attacked by the desire to listen to the soundtrack again. An emotional spiral that offers no escape.

For those who haven't seen the film, they must remedy immediately, they will be sucked into an emotional vortex that will open their hearts and imprison them forever. All the others surely know what I'm talking about.

My dear Enniuccio, I love you.