Also in the Week, “Ariaferma”, by Leonardo Di Costanzo, with Silvio Orlando and Tony Servillo as antagonists in an old semi-abandoned prison, “The Macaluso sisters”, by Emma Dante, “The predators”, a comedy by Pietro Castellito, and ” Latin America”, by Fabio and Damiano D’Innocenzo. We spoke by phone with Marco Morricone, eldest son of the composer:
Journalist: Giuseppe Tornatore had finished “Ennio, el maestro” in February 2020. Did your father get to see that movie?
Marco Morricone: Yes, Dad even saw the full version which is about 10 hours long, and he was very happy. That documentary represents the person first, then the character. He emphasizes that his work was always accompanied by constant critical and self-critical reflection, sometimes painful, always very lucid. It is the testimony of a man who, although linked to the craftsmanship of the studio, has developed a broad vision, a dimension in which writing music is an act that calls the composer to reflect on the nature of artistic creation, and on the confrontation with the audience. That’s what dad told us.
Q.: Are you also a musician, like your father and grandfather?
MM: No. Although I really liked accompanying my father in his profession, I chose to do something else.
Q.: And your brothers?
MM: Alessandra is a doctor, Andrea is an excellent musician and conductor, and Giovanni is a screenwriter and film director. I collaborate closely with him in everything related to preserving and disseminating dad’s musical production.
Q.: As a child, what did you think of your father’s work?
MM: That his work was very different from that of my classmates’ parents. Since he had his studio at home, there was always a lot of noise, a lot of people around him.
Q.: And he had time for you?
MM: He was rigorous, authoritarian, but at the same time loving and attentive. And working mostly from home allowed him to be present with us. He loved us very much
P.: And Maria Travia, his wife.
MM: Mom was an extraordinary companion for him, a true muse. I quote a phrase from dad, which explains well his feelings towards my mother: “In love, as in art, consistency is everything. I don’t know if there is love at first sight or supernatural intuition. I know that there is constancy, coherence, seriousness and permanence”. 64 years they lived together, until he died.
Q.: Your father was Catholic.
MM: He was always a believer, as evidenced by both the music for “The Mission” and the sacred works he did, and which are less known because they belong to the field of his “absolute music”, such as the Vuoto d’Anima Piena, a cantata for flute , orchestra and choir written in 2008 for the thousandth anniversary of the Cathedral of Sarsina, where it goes through the history of music, from the Gregorian, with the maximum freedom. The latest was the 2014 Missa Papae Francisci, composed on the 200th anniversary of the Society of Jesus.
Q.: And what was he thinking afterwards, over time?
MM: Over time, I began to understand how much genius, the art of intuition and the taste for experimentation of a great composer were present in him. Like very few composers of his time, he had and has the ability of great artists to reach an international audience, and, even more difficult, a transgenerational one. I like to underline how much musicians from the most diverse cultures love him, as they themselves tell in the documentary.
Without exhausting the list, they are John Williams, Quincy Jones, Hans Zimmer, Bruce Springsteen, Joan Baez, Ornella Vanoni, Nicola Piovani, Gianni Morandi, Pat Metheny, Zuchero, and especially Edda Dell’Orso and Alessandro Alessandroni (female voice and the whistler from Sergio Leone’s westerns).
Source: Ambito
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