| |
|
 |
| €
24.50 |
|
|
|
|
larillira'
Music And Songs By Nino Rota From
The Movie Soundtracks |
|
| tracks |
01. Treno popolare (Crivel)
02. La maestra se ne va (Chiaretta Gelli)
03. Ninna nanna (Chiaretta Gelli)
04. La canzone del calesse (Chiaretta Gelli)
05. Richiamo d'amore (Gino Bechi)
06. Notturno (Gino Bechi)
07. Gelsomina (Nilla Pizzi)
08. Maggie (Bruno Rosettani)
09. La bella di Roma (Silvana Pampanini)
10. Il vero amore (Silvana Pampanini)
11. Io piaccio (Peter Van Wood)
12. La canzone dei fiori (Peter Van Wood)
13. Valzar di Natascia (Jula De Palma)
14. La rosa di Novgorod (Armando Sciascia)
15. In vacanza al mare (Franco Bolignari)
16. Mambo di Cabiria (Nicla Di Bruno)
17. Larillirà (Sergio Bruni)
Bonus tracks
18. Il vero amore (Katyna Ranieri)
19. La canzone dei fiori (Nella Colombo)
20. Gelsomina (Natalino Otto) |
| |
| |
| description |
On the centennial of the birth of Nino Rota the Istituto Centrale
Per I Beni Sonori Ed Audiovisivi (Central Institute For Sound
And Audiovisual), in cooperation with GDM Music, wanted to produce
this collection that documents part of his music production
for films (from Treno Popolare of 1933 to Le Notti Di Cabiria
of 1957), in particular the music with more relevance and contacts
with the song form and prior to the resounding success achieved
in 1960 with Federico Fellini's La Dolce Vita, which was the
sixth collaboration between the Director from Rimini and the
Martes from Milan.
Since the beginning Nino Rota's film approach is, therefore,
related to the song, even though, from time to time, he would
continue to think at it in the form of musical accompaniment
to the images, in its components of music and text, he eventually
would choose to entrust to the music alone the power to underline
the cinematic sequences, and he would give to his music a great
expressive power and a suggestion of melancholy impact, often
offset by the crime genre of musical themes, with which he loved
to counterpoint the dominant theme of a film.
And it was exactly the great expression of some of those themes
to suggest the possibility that they could become songs, a condition
that will accompany the music of Rota from the international
success of La Strada to the great popularity achieved by the
love theme in The Godfather, which at the first will top the
Italian hit parade with the song Parla Più Piano and
then, translated into English, it will top the American and
British hit parades with Speak Softly Love.
In the forties and fifties in Italy pop music was still primarily
focused on the song, and much less on the performers.
If anything were the orchestra conductors who were holding the
singers the ranks of a staff and were handling them as if they
were musicians, with that modicum more autonomous right the
voice of the performers could demand as they were enjoying a
stronger public image and an increasing popularity thanks to
the arrival of the television.
But the songs were, again, the center of attention, and it was
thanks to this centrality that Sanremo (Italian Song Festival)
was born (1951), but it began to disrupt the cards in favor
of the performers, while keeping the center of his interest
in the music composition and text.
This explains the fact that the most popular songs had many
interpreters, besides the artist who had made the first incision,
and it is thanks to this custom that some of the musical themes
composed by Nino Rota for the cinema become acclaimed songs.
The creation of this record is also in accord with the policy
of the Central Institute for Sound and Audiovisual, that is
to promote and develop the heritage, from which all the tracks
of this anthology come from, as they are taken from the 78 and
45 rpm discs, using a process of digital restoration made at
the laboratory of electronic restoration of our Institute.
Massimo Pistacchi
Director of the Central Institute for Sound and Audiovisual |
|
|
