Maestro, the Ennio Morricone Online Magazine, Issue #17 - June 2019
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Maestro, the Ennio Morricone Online Magazine, Issue #17 - June 2019


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PREFACE: The Boys from Trastevere - Didier Thunus (3-4)
NEWS: In breve, Old News - Patrick Bouster, Didier Thunus, Frédéric Durand (5-14)
INTERVIEW: Jean-François Giré - Director of documentary "Sergio Leone: une Amérique de légende" - Patrick Bouster (15-20)
DOSSIER: Leone and the Graphic Art - Patrick Bouster (21-31)
TRIBUTE: Once Upon a Time in America: Friendship, Love and Betrayal according to Sergio Leone - Didier Thunus (32-41)
ALBUM ANALYSIS: Goldfrapp-Morricone: Similitudes - Enrico Tichelio (42-43)
CHRONICLE: Western? The Hateful Eight and Others – Part 2 of 3 - Randolph Carter (44-49)
INTERVIEW: Régis Campo, A musical homage to the Maestro by a prominent French composer - Laurent Perret (50-57)
ARTWORK: Two Mules for Sister Sara - Steven Dixon (58-61)
CHRONICLE: Musica da sera – A Running Commentary - Enrico Tichelio (62-65)
CONCERT: The Epic Tale of the Ennio Morricone Autry Concert - Henry Stanny (66-71)



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Published 02 February 2020
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Table of Contents
Preface – The Boys from Trastevere.......................................................................................... 3
In breve....................................................................... 5
Old News.. 11
Jean-François Giré – Interview ................................................................ 15
Leone and the Graphic Art....................................... 21
Once Upon a Time in America: Friendship, Love and Betrayal according to Sergio Leone .. 32
Goldfrapp-Morricone: Similitudes........................................................................................... 42
Western? The Hateful Eight and Others – Part 2 of 3.............................. 44
Régis Campo – Interview......................................................................................................... 50
Two Mules for Sister Sara........ 58
Musica da sera – A Running Commentary.............. 62
The Epic Tale of the Ennio Morricone Autry Concert............................................................. 66
License for all articles: CreativeCommons
Cette œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution
- Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 2.0 Belgique
All the articles are of purely informative nature. We do not own the copyright of the images
included in this document or of the audio clips accessible from it. All the rights on the images
and the music are the property of their respective owners.
Chief editors: Patrick Bouster and Didier Thunus
Front cover design: Valeria Magyar
Front cover inlay: Anne-Catherine Mortiaux
Back cover image: from “La révolution Sergio Leone”, La table ronde, 2018
The Boys from Trastevere
by Didier Thunus
We all have stained school pictures from our parents or grandparents scattered in old boxes in the attic, but
none of them will ever be as legendary as this one. Sergio Leone and Ennio Morricone were schoolmates
in the 1930s, and were to become, 30 years later – although they didn’t even remain friends in the meantime
– the most outstanding director-composer association in the history of cinema. Keep this picture in mind
when you watch the cemetary sequence from Il buono, il brutto, il cattivo (or many other sequences from
that film or others, for that matter), and you’ll have a sense of how miraculous this venture has been. The
world will remember forever those two boys from Trastevere.
thSergio Leone died on April 30 , 1989, exactly 30 years ago. He was only 2 times 30 years old and was
thleaving behind him one of the most striking contributions to 20 Century’s cinema. He had become a
director 30 years before that. His breakthrough movie had been Per un pugno di dollari (1964), inspired
1by Kurosawa’s Yojimbo (itself probably inspired by Hammett’s novel “Red Harvest” ). But his true
admiration was actually America. His fascination for American cinema was largely due to the fact that
American movies had been forbidden by the Fascist regime in Italy short after Leone could marvel at the
Hollywood masterpieces of the 1930s, up until the end of WWII, and had therefore become a holy grail
during the boy’s upbringing. Sergio Leone went so far in this admiration that he delivered movies which
became emblematic of America for the Americans themselves. The settings, the characters and the music
that are seen as most representative of the American West still today, are not those from the movies of
Howard Hawks or John Ford: they are the ones from the movies of Sergio Leone.
It is hard to imagine what the careers of Clint Eastwood or Ennio Morricone would have looked like had
Leone not been around. Those artists probably had enough talent to find their way without the impact which
Leone’s movies had, however it is well known that talent is useless if you don’t meet the right persons at
1 It is little known that director Bernardo Bertolucci (also co-writer of Leone’s C’era una volta il West) planned
to shoot another adaptation of Dashiell Hammett’s novel in the 1970s, with Eastwood in the leading role. It is very
likely, due to that other faithful director-composer association during the period, that Morricone would have been
called up for the music. One thing we know for sure is that when Morricone scores twice the same storyline (cf.
Nana [1983 and 2000], La dame aux camellias [1981 and 1992], or the movies about Giovanni Falcone [1993
and 2006]), he always does it in a very different way, ignoring completely what he had come up with the first time.
the right moments. They would have had to wait for their next chance. They would have had fans for sure,
but the prominence that Leone gave to their craft provided a key whereby everybody could read even the
rest of their work, a window open to their least known efforts, the top of the iceberg making many people
want to discover its hidden part. History has it that for them, and for several others, the talent spotter was
Sergio Leone.
The Roman director always gave a place of choice to the music, considering it as the vehicle of the
characters’ minds, allowing it to become a prominent protagonist of the cinematic experience. It’s almost
like his movies were silent, the sparse dialogue merely aiming at avoiding the inserts of title cards. The real
dialogues, for him, were conveyed by the music. Leone was not only making close-ups of his characters,
he was also making close-ups of the music. The miracle was that the boy second-next to him on the school
picture had in the meantime become the best composer in the world, now giving birth to the most
extraordinary pages ever of music applied to the screen. This association has often been compared to that
of Fellini-Rota, Hitchcock-Herrmann, or Spielberg-Williams, but it is the only one where the compliment
can also be reciprocated: what would have Sergio Leone’s career looked like without Ennio Morricone?
More anecdotally, Sergio Leone was also known for his great sense of humor and for embellishing banal
events that took place during film production. Every Morricone fan remembers the anecdote of the
composer falling asleep in the studio during some mixing session for C’era una volta il West. Leone had
switched off the lights and woke up his friend by talking through the speakers with a heavenly voice
pretending he was God. The composer never found this to be a very funny story. We know that 1968 was
amazingly busy for him and it is no wonder that he would fall asleep during a session he wasn’t even
supposed to attend. However Morricone has also stated several times that his inspiration was often at work
when he was half asleep. So, who knows, maybe he wasn’t inactive at all at that moment in the studio: he
2was actually composing!
This issue #17 of “Maestro” is a tribute to Sergio Leone. His career and the impact of his oeuvre will be
analysed, thanks to an interview of French director Jean-François Giré who recently dedicated a
documentary to him, to a study of the graphical aspects associated to his work, and through a detailed
3analysis of his last movie, Once Upon a Time in America.
Additionally, and quite opportunely, Enrico Tichelio comes up with a discussion on Goldfrapp’s album
“Felt Mountain” of 2000, which the British duo dedicated to Leone and Morricone, propelling their legacy
stinto the 21 Century. Some Scott Johnson commented on Youtube: "…if it weren't for Goldfrapp and their
endless counting of Morricone as an influence on this album, I don't think many people of our generation
(including myself) would have ever discovered Morricone's genius
4as a composer. He's highly influential."
We also have the usual contribution of Steven, the continuation of
Randolph Carter’s article (also touching upon Leone), and an
account of yet another edition of Henry Stanny’s Morricone concert.
Last but not least, thanks to Laurent Perret, we have the honor of
presenting an exclusive interview of prestigious French composer
Régis Campo, eminent member of the Académie des Beaux-Arts,
who recently wrote a piece dedicated to Ennio Morricone.
Ennio Morricone and Sergio Leone in May 1984,
that the press conference of Once Upon a Time in America, 37 Cannes Film Festival
– Credits: Jean-Marc Zaorski/Gamma-Rapho - Getty
2 Why not go along with this amusing hypothesis and pretend that it suddenly makes his crazy filmography
realistic: he was literally working around the clock, even when sleeping.
3 We had also planned another tribute article, more focused on Leone’s contributions to the cinema, but had to
postpone it to the next issue in order to have the time to refine it (respecting thereby the perspective of Leone
himself, to perfect things with time and means, even at the cost of exceeding the allocated duration).
by Didier Thunus (D.T.), Patrick Bouster (P.B.) and Frédéric Durand (F.D.)
In breve
The current tour of Ennio Morricone is called “The Final Concerts”. It is now quite certain that
we are reaching the very end, even though this has been announced many times already. An
impressive series of 10 concerts in Italy (in Verona, Roma and Lucca) seem to make up the
song of the swan, after the Maestro visited many European countries earlier this year. "I will be
591 years old in November" he said to El Pais , "I feel very well, but what can I do? Continue?
Impossible. It was not hard to decide. It is the observation that, at the age of 90, you have to
stop. I've done so many movies, concerts, absolute music. At some point I have to say 'enough'.
I have worked hard, I have to rest and I allow myself to stop.[…] I will not tell anyone that
these are my last concerts. I am free to do others, in the future. But I do not want to."
New Movies
Giuseppe Tornatore’s documentary about Ennio Morricone, called Lo sguardo della musica,
6is now scheduled to be released either between end of 2019 and beginning of 2020 , or at the
72020 Cannes film festival , depending on who you ask. There was no fresh news however on
Tornatore’s other two projects, namely Beati paoli and Geek.
5According to El Pais , Morricone has just refused to score Matteo Garrone’s Pinocchio, the
new movie by Daniele Luchetti (maybe Momenti di trascurabile felicità, eventually scored
by Franco Piersanti) and two American films. For the rest, he wants to dedicate himself to
absolute music.
thA note on the Facebook page of the Bari International Festival on May 4 stated that “The
meeting on Ennio Morricone scheduled today at 6.30pm at the Margherita Theater is canceled
8due to work commitments of Marco Bellocchio.” Depending on how you interpret this message,
you might deduce that Morricone and Bellocchio are working together. But the statement is
ambiguous and such a collaboration unlikely.
Bari International Film Festival
Ennio Morricone was celebrated at the Bari International Film Festival in
April9May 2019 . A retrospective of his oeuvre was presented, and the Maestro was
awarded the Premio Fellini. The "Morricone Day" opened with the projection of
La migliore offertà, then followed the subsequent days by Sacco e Vanzetti,
Addio fratello crudele, La classe operaia va in paradiso, Giù la testa,
L'istruttoria è chiusa: dimentichi, Il Decameron, La battaglia di Algeri,
Giordano Bruno, La proprietà non è più un furto, Vite strozzate, Il sorriso del grande
tentatore, Per le antiche scale, La donna della domenica, L'eredità Ferramonti, Novecento,
Viaggio con Anita, La tragedia di un uomo ridicolo, I magi randagi, Bianco rosso e
Verdone, Malèna, Baaria, Gli occhiali d'oro, Una pura formalità, Galileo, Sostiene Pereira,
Pasolini - un delitto italiano, Allonsanfàn and La leggenda del pianista sull'oceano.
On April 27, Ennio Morricone and Giuseppe Tornatore were present at the Festival to promote
their book of conversations “Ennio, un Maestro” (see Maestro #16). After an astounding
10 6standing ovation , the two men talked about the interview that resulted in the book :
EM: I approached the interview very timidly: exposing so much intimacy seemed inadequate to
me. I answered wrongly to most of the questions...
GT: That’s what you are saying [everybody laughs].
EM: It was long. I would call it anything but an interview.
GT: You defined it as a psychoanalytic session [everybody laughs].
EM: Peppuccio was good at pulling out of me anecdotes that I didn't think I could remember.
Discovering myself like this was an obstacle for me to overcome. I don't usually talk about
myself, but about others: it's easier. Many directors didn't understand me or, worse, didn't talk
to me ... Quentin Tarantino didn't tell me anything [referring to their collaboration for The
Hateful Eight] except “you should write a score for the snow scenes, it will last between 18
and 40 minutes” [everybody laughs]. Pedro Almodóvar never expressed a judgment when we
collaborated on Legami! until I asked him after the film was released. With Giuseppe the
relationship is different.
GT: The expectations between us have grown with our friendship, we have become over time
more demanding on each other. Initially I didn't know the technical terminology of music,
working with Ennio I learned more professional terms. Ennio made me grow.
EM: Music is not fundamental in a film, it can do without. However, if a director chooses to
use it, he has a duty to give it adequate importance.
GT: Ennio is always worried, he feels like a newcomer not worthy of the directors he works
with. This has led to an evolution in the work we have done together. In general, friendship
makes people lazy in a professional context, but it was not our case ... Ennio is also impressively
precise in using the orchestra: if he plans to spend 40 minutes recording a piece, he will not
employ one more second. It's incredible.
EM: I've always tried to get along with the directors I worked with, but with Peppuccio it's
another thing. He can tell me when something's not right. Once I wrote for him a piece he didn't
like and I changed it in ten minutes [laughs]. The director becomes a co-author when he is
aware of what to ask. The picture is the director’s, not the composer’s. He is, rather, an
important aid to interpret the abstract part of the idea. It is a very difficult task.
GT: I wouldn't like to think that the director limits himself to saying "I like it" or "I don't like
it". The director has the task of intervening to make improvements to the soundtrack. We must
never be satisfied nor believe that there is no possibility of improvement. Although I never
criticize drastically. [Ennio smiles perplexed; everybody laughs]
EM: It is correct to say that he decides, the idea of film is his. He is a composer like me.
GT: I have been studying Ennio's music since I was a child. In the interview, Ennio confirmed
an impression I have always had, namely that there is a musical identification for every single
director: in short, there is a Morricone for Sergio Leone, a Morricone for Giuliano Montaldo,
a Morricone for Giuseppe Tornatore ... Ennio remains himself, managing to decode the musical
coordinates of each individual director. He respect the musical culture of the director, even
when he doesn't know he has it. This is extraordinary.
Gold Medal of the Pontificate
11Ennio Morricone was awarded the Gold Medal of the Pontificate by Pope Francis on April 15 .
The composer and his wife met the Pope before the ceremony, apparently a very emotional
moment for the Maestro. He has composed in 2015 a Mass in honor of Pope Francis.
Cultura Italiae also awarded the composer with a prize, the “Presidio culturale italiano”, handed
12over to him by the Minister of Cultural Heritage, Alberto Bonisoli, on June 6 .
Milan Olympics 2026
It was recently announced that Ennio Morricone would compose the hymn for the Winter
13Olympic Games of 2026 if ever Milan would be selected as host city . The other contender is
thStockholm. The decision will be taken on June 24 . Morricone had already composed a song
for the 2024 Olympic Games in case Rome was to be selected, but the candidature was cancelled
by the city itself (see Maestro #14).
New Releases
For the first time since the creation of this fanzine, no new music by the Maestro has been
released during the period. Re-releases continued to see the light however, mostly on vinyl.
Monte Stella Records has been the most active label, with reprints on LPs of Cuore di mamma,
Maddalena, The Secret of the Sahara, La Donna invisibile and Canone inverso.
Vinyl Magic released La stagione dei sensi, whereas Dagored came up with a 45rpm of
L’anticristo, a disappointment when we know that this score is still vastly unreleased. Quartet
Records re-released Dedicato al mare Egeo with the same contents as in 2010, and Beat came
up with a mammoth 3CD release of Piero Piccioni’s Fumo di Londra, containing the 4 known
versions of the song You Never Told Me arranged by Morricone. Digitmovies re-released Ruba
al prossimo tuo both on CD and on Vinyl, with the same programme as on their 2008 release,
except for the LP where 3 cues had to be left out.
While we are talking about Ruba, note that by pure coincidence the “mysterious” piece from
that movie, which sounds very morriconean but cannot be ascribed to him with certainty (see
Maestro #8), and which was nowhere to be found for the past 50 years, has now been
rerecorded not once, but twice! First by EverKent who released it as a bonus track on its “Cronaca
14di un falsario” album ; then by Chuck Cirino on his new EP called “Lost & Found - Film
15Music of Ennio Morricone, Volume One” . If EverKent tried to remain as close as possible to
the original version, Cirino gave it his usual uplifting, like he had done on several previous
Morricone cover versions – some of which
make up the rest of this album. The best
example of this face-lift is found on his 2010
version of one of the best built pieces of
Italian western music ever, Un esercito di 5
uomini: a quite challenging piece to
reproduce, but Cirino manages to give it his
own touch and makes for 3 minutes of pure
14 Listen to it in full here:
New Documentaries
Sad Hill Unearthed
Less old but commented already several times in this fanzine, the documentary Sad Hill
Unearthed directed by Guillermo de Oliveira is now available on Netflix. It retells the story of
a group of Sergio Leone fans in pilgrimage to the locations where the final scenes from The
Good, the Bad and the Ugly were shot, essentially the so-called Sad
Hill cemetery in Burgos, Northern Spain. It has interviews with Clint
Eastwood, Ennio Morricone, James Hetfield (Metallica), Joe Dante,
Eugenio Alabiso, Sir Christopher Frayling, etc. It is a very moving
movie, showing how far fans can go to celebrate their idols. Hours
of hard work made it possible to restore the circular cemetary and its
central yard like it was in 1966.
There is very little Morricone music heard in the movie though, as if
the rights could not be secured. An original score is provided by
Zeltia Montes, poor melodically speaking but rich in atmosphere and
nice guitar chords. A woman voice shows up towards the end. The
composer choses to illustrate more the inner journey of the fans in
search of reviving their fascination, than the grandeur of the settings.
A very nice movie, highly recommended. It can only touch the heart
of fans like us.
Documentary on Sergio Leone by Jean-François Giré
Some DVDs appeared to celebrate Leone in 2019 on the occasion
th thof the 90 anniversary of his birth and the 30 of his death.
As announced in Maestro #16, the documentary on Sergio Leone
by Jean-François Giré was broadcast, in a shortened version of 52
minutes, and as expected a video edition (2 discs combo
DVD/Blu-Ray) extended to 72 minutes. This work in the
complete rendition really gives justice to the director. Some parts
missing in the TV version are interesting indeed, like the dubbing
in French directed by Leone with an actor for Giù la testa. But
let's warn you that the video is for the francophone people or those
who can understand French. In the extras, a light dialogue
between Giré and Simsolo is featured, as well as interviews with
actor Gianni Garko and script writer Ernesto Gastaldi, who reveal nice anecdotes we will use.
Santi, Leone's assistant, simply reads a text from himself on the Italian western. The background
music is by Jean-Baptiste Lhoussier, son of the composer Jacques Lhoussier who recently
passed away, bringing music cleverly built, without imitation.
It's a luck that this edition exists, from a small production company, which could have decided
not to issue it. So it has to be encouraged. Giré kindly accepted an interview about his
documentary and Leone in general, giving us some new information, available below in this
In memoriam
Michel Legrand (1932-2019)
After Francis Lai, another French song and film composer, even greater and more famous,
thpassed away: Michel Legrand, on 26 of January 2019, at the age of nearly 87.
His debuts were very similar to
Morricone’s, after solid and demanding
music studies, he worked as a
ghostwriter for some film music (but for his
father Raymond only), for song
arranging, before dedicating himself
almost entirely to the cinema.
His huge, very successful career will stay
for long in the memories and on records,
for many reasons. Indeed, the man was
very gifted, versatile, unclassifiable and
(seriously) gaming, making bridges
between musical genres, and even
singing himself (the less perfect side of his work). Modern arrangements, French musicals, an
American part of his career, numerous concerts, 3 Oscars®, more than 200 scores for the
cinema, makes him unique.
Greatest singers and performers collaborated with him – it would be too long to cite all of them
(enough to name a few like Miles Davis, Barbra Streisand, Ray Charles). He worked until the
end, on two main projects. First, the soundtrack of The Other Side of the Wind, a former film
by Orson Welles (who planned to hire him for it), finally edited and put in shape, released in
2018 (the CD is published by La La-Land). Second, he adapted his music from Peau d’âne
(Donkey Skin), for a musical in Paris (a CD exists too).
With film music expert Stéphane Lerouge, he gathered his memoirs in a book: “J’ai le regret
de vous dire oui” (expanded edition of the previous one, published by Fayard, 2018), full of
informative anecdotes and funny, astonishing and poignant moments. So far it exists in French
only, but let’s guess that it will be translated into English some day.
A lot of CDs exist, including Compilation CD boxes, but the 15-CD box from a couple of years
ago by Universal, “Michel Legrand Anthology”, appears to be a good compromise to embrace
all his career (it has recently been expanded into a more classy 20-CD box, "Les moulins de
son coeur"). Something brings me to believe that Morricone could appear in that format too…
Being more seductive and
accessible than his Italian
colleague, he was equally
professionally demanding,
without any concession to
quality or his vision, and well
balanced popular and cultured
sides. His funeral ceremony was
a national event, as his name and
music was known by non film
music listeners. Thank you, Mr
Legrand, for all you provided to
us and for the next generations.