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Re: The Bible
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William D McCrum
Re: The Bible
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Dec 8 07 8:45 AM
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'
Neither was Rozsa very accurate. Aside from the "Japanese Beethoven" comment, jazz arranger is only one of the talents of that most famous student of the fine Italian composer, Geffredo Petrassi. To be fair though, Morricone had not yet acquired super-star status in mid-1966, so it is difficult to say what Rozsa might have known of him.
'
It's interesting that by 1982, according to another 'Soundtrack' interview below, he had gained some respect for Morricone, though he still queried his conveyor-belt attitude:
'
Well, I dont know him personally. I knew his uncle, who was my copyist in Rome. I know that Morricone is a good musician, who studied at the conservatory of Rome under Petrassi. He was under contract to RCA Italiana. The last time I was in Rome, a composer called Rustichelli, who writes a lot for lighter films, told me, The trouble with Ennio is that he scores too many films. I asked how many? He said, He scores 30 movies a year. How can you do that? I write five, the maximum I work on is ten. Who works on ten pictures a year in Hollywood? Nobody can physically. But apparently Morricone can. A Frenchman told me that he tried to interview Morricone during a recording session, but that he couldnt talk to him, because there was a producer there for his next film, discussing with him a picture he started on the next day, after he had finished this recording. Well, this is an industry, not art.
'
Mayuzumi was a talented composer without doubt, and had Rozsa scored this film, he'd've needed to change his philosophy considerably for the early sections involving the Creation etc.. Unlike his 'Lust for Life' creation pieces, this real 'Creation' would require an ascent from minimalist to detail, from chaos to order, and he just wouldn't THINK that way. That is no slight to his talent, rather a suggestion of prejudices and self-imposed limitations.
Y'see, it seems to me Miklos behaved in an 'aristocratic' way for the most part. He respected courtesy, loyalty, and had an idealistic view of rural peasant life. But he was NOT from aristocratic stock himself though rich, and aristocratic behaviour, especially in ye olde Eastern Europe, had a dual edge. The darker side involved an earth/fascist approach where survival is for those who've earned it through fitness. So ESTABLISHED artists are great, those with credentials, and newer talents are tolerable only as playful diversions from the chores of responsibility and ruling!
This side of Rozsa that emerged occasionally only in his very few rejections enriches his music though, makes it more ruthless, dynamic, sensual. But it could be called affectation too. It was to me his Achilles' heel, and smacked his career into the periphery during the 60s.. He would have SEEMED very reactionary at the time. He became very humanitarian-ish in the 70s etc., and his career picked up after conferences, Williams' re-igniting of the symphonic style in cinema etc.. But that's ANOTHER 'aristocratic' trait too ... learning to adapt. He was a consummate craftsman with just one little flaw standing between himself and the sort of imagination that would have put him in Prokofiev league in the public imagination. 'anybody agree or disagree?
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