La fidanzata del bersagliere - Ennio Morricone - Edizioni musicali

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ENNIO MORRICONE

La Fidanzata del Bersagliere

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Hear some clips

	1. Annuncio (voce dell'autore)

	2. La fidanzata del bersagliere (Mp3)

	3. È arrivato portato dalla primavera (Mp3)

	4. La fidanzata del bersagliere (ver. 2) (Mp3)

	5. La fidanzata del bersagliere (ver. 3)

	6. Squilli gioiosi

	7. La fidanzata del bersagliere (ver. 4) (Mp3)

	8. La fidanzata del bersagliere (ver. 5)

	9. In sogno

	10. Il bersagliere morto rivive nel sogno (Mp3)

	11. La fidanzata del bersagliere (ver. 6)

	12. La fidanzata del bersagliere (ver. 7)

	13. Ripensamenti

	14. La fidanzata del bersagliere (ver. 8)

	15. La fidanzata del bersagliere (ver. 9)

The Album

In 1963, when Ennio Morricone composes music de "the fiance of the bersagliere" ("bersagliere" is a typical figure of a soldier of the Italian army, that is always running, sound a trumpet and wear a characteristic feather hat), he was only 34 years, but the signs of who he would have become, like also in others precedence works, are present.
And this de "the fiance of the bersagliere" is, for how much is given us to know, the only job that Morricone has realized for "the light" theatre of so-called prose. In that moment Ennio Morricone is known and appreciated for the agreements of some discs of light music for Edoardo Vianello, Luigi Tenco, Rita Peacock, Gianni Morandi, Gino Paoli.
The big cinematographic and musical success in "For a fist of dollars" would arrive in a year (the silver tape reward was assigned for this movie in 1965), in fact Morricone, the director and the actors, were so much anonymous for the big public that they used American pseudonyms. In fact so much so, in some posters Morricone appears with the pseudonym of Dan Savio (that he already used to sign some agreements in a couple of discs), on others instead he appears with the name of Leo Nichols.
Listening therefore to the music of this juvenile job, besides noticing the strong attachment to the classical music rules, you will appreciate the descriptive and emotional capacity, all leaving from a characterization obviously set up from the text and the argument and the fact that it is music for a theatre scene. It does not lack, to sign this composition as his, the inexorably use of perceivable dissonances in some passages, specially where the breath instruments chase and overlap themselves.
To have re-published this job today, even if far away from his others monumental compositions, is also always a gesture of give credit for and of ulterior and deeper acquaintance given to those who always have loved to know and to listen to music of Ennio Morricone.
Comparing to the previous version in vinyl of years '70, for this authentic version in compact disc it has been recovered and inserted some titles that even if making part of the original sound track for the theatre comedy, had not been never published before now.

Pietro Paluello

Read the author's biography
The "Cometa" series