Few composers have shaped how a whole century of cinema sounds. Ennio Morricone (1928 to 2020) wrote music for more than five hundred films and television series, from the whistles, twangs and choirs of Sergio Leone's westerns to the long melodic lines of Once Upon a Time in America, Cinema Paradiso and The Mission. He received an honorary Oscar in 2007 and the award for best score in 2016 for The Hateful Eight. Born in Rome to a jazz trumpet player, he began composing at six and studied trumpet and composition at the Santa Cecilia Conservatory under Goffredo Petrassi.
Morricone's 1972 score for Nino Zanchin's film, from the original mono masters: a love theme sung by Edda Dell'Orso and psychedelic harp pieces with echo, back on CD after twenty years.
Ennio Morricone's 1977 score for Pasquale Festa Campanile's road thriller with Franco Nero, Corinne Cléry and David Hess, with Edda Dell'Orso and I Gladrags: first reissue since the 500-copy original, restored from the master tapes, in a digipack.
First vinyl reissue of Morricone's score for Henri Verneuil's 1971 heist film with Belmondo and Omar Sharif: crime grooves, lounge jazz and Edda Dell'Orso's voice under Bruno Nicolai's baton, plus two rare Astrud Gilberto sides.
The artist’s name and the title of the work alone would be enough to introduce this release: Ennio Morricone and “Nuovo Cinema Paradiso.” On one hand, the world’s most famous Italian composer and conductor; on the other, one of the most beloved and c…
Still sealed copy of the long sold out box set re-issue on Dialogo of one of the most amazing series od experimental library records originally released by RCA in 1982.
Very rare first ever full book on Morricone, a 1989 biography compiling interviews, international press excerpts, and deep analysis of his massive catalog up to the late 1980s.
1994 first CD re-issue on GDM of one of Morricone's most experimental and psychedelic soundtracks for the 1971 film by Jerzy Kawalerowicz, coupled with the most traditional and evocative soundtrack for Alberto Bevilacqua's 1972 film.
1997 first CD re-issue on RCA of two of Morricone's greatest experimental and psychedelic soundtracks respectively for Umberto Lenzi's 1974 and Massimo Dallamano's 1972 giallo films.
1996 CD on Point with two previously unreleased and essential experimental soundtracks for two 1971 films respectively by da Luigi Bazzoni and Enzo G. Castellari, the latter performed by no less than the Gruppo di Improvvisazione Nuova Consonanza.
Beat Records is pleased to reissue on CD the brilliant OST by Ennio Morricone for the romantic film La notte e il momento, directed in 1995 by Anna Maria Tatò with a screenplay by Anna Maria Tatò and Jean-Claude Carrière, photography by Giuseppe Rotu…
Beat Records is pleased to reissue on CD the OST by Ennio Morricone for the drama film Il pentito, directed in 1985 by Pasquale Squitieri with a screenplay by Pasquale Squitieri, Laura Toscano, Lino Jannuzzi, Orazio Barrese, and Franco Marotta, photo…
Mariachi parodies, experimental jazz, lounge cues for party scenes, and a main theme that returns in five different versions. Composed in 1972 for Duccio Tessari's aviation comedy, the score to Forza "G" is one of the least visited corners of Ennio M…
Beat Records returns with a new CD edition of Ennio Morricone's score for Il diavolo nel cervello, the 1972 psychological thriller directed by Sergio Sollima. Long absent from Italian shelves, this is a rare excursion into giallo territory for a dire…
Quartet Records, in collaboration with GDM and EMI General Music, presents a reissue of Ennio Morricone’s iconic album Colori, celebrating its 55th anniversary. In the summer of 1971, Morricone entered the legendary Orthophonic Studios in Rome alongs…
On La cuccagna, Ennio Morricone sketches early‑60s Italian life in miniature: light, bittersweet themes, small‑combo colours and gently ironic swings that mirror a young woman’s fragile hopes inside a consumerist daydream starting to fray.
In La ragazza e il generale, Ennio Morricone threads anti‑war irony through bittersweet melodies and marching figures, mixing folk‑tinged themes, choral snatches and tense orchestration into a score where tenderness and absurdity share the same battl…