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教 会--电影音乐从未达到如此成就
THE MISSION-Film music has never scaled heights quite this high againTA8602)
 
 
译者的话 《教会》可能是全球范围内莫里康内爱好者最津津乐道的原声音乐之一,不过这部非常杰出的配乐真是难以评说。在评价这个音乐之前,了解18世纪欧洲国家(及其殖民地)与罗马教廷之间错综复杂的政治、宗教关系对研究影片与配乐有着十分重要的意义。我想,这些历史背景对詹姆斯 绍索尔先生来说尤为重要。我们也可以欣赏借鉴外国资深爱好者的学识及观点,于是我翻译了《教会》这篇音乐评论文章,请各位同好指正。
 
教 会
电影音乐从未达到如此成就
 
作者 詹姆斯 绍索尔   中译文 马涌
原文出自:http://www.movie-wave.net/titles/mission.html
评论版权所有(c),詹姆斯·绍索尔,2008年

继《杀戮之地》(1984年)之后,罗兰·约菲闪亮登场的《教会》(1986年)讲述了一段相当遥远的历史事件,正当西班牙的耶稣会传教士意识到他们的传教事业百废待兴的时候,巴拉圭的土著人部落陷入到西班牙与葡萄牙的领土争端之中。《教会》不是一部杰出的电影,不过看上去很精彩,角色表演到位(杰瑞米·艾恩斯出色地饰演了一名温顺的高级传教士,罗伯特·德尼罗饰演了一名洗心革面的雇佣兵,雷·麦卡纳利饰演了一名罗马教廷的代言人,配角阵容包括艾丹·奎因、罗纳德·皮卡普、连姆·尼森)。随之而来的无疑是最重要的一点,埃尼奥·莫里康内,电影史上最伟大的作曲家之一为电影艺术做出的最伟大的一个贡献。这部原声音乐飘扬着美妙与激情,是继《西部往事》之后电影影像与音乐最不寻常的婚姻。

毫无疑问,这个原声专辑是有史以来最畅销的专辑之一。音乐在影片中扮演了这样一个关键角色,很多看过这部电影的人都会出手这张专辑;它是电影音乐的最佳典范,它不只是"在电影中出现"(此刻所有苍白无力的赞誉只不过是陈词滥调的托辞),事实上,音乐不仅仅升华了这部电影,它绝对地成就了这部电影-而且远不止如此。然而事实并非如此简单-它是如此美妙的音乐,不过它受到某些自命不凡言论的不屑一顾,他们认为电影音乐最好是呆在电影当中。这种观点认为,在某种程度上即使是最好的电影作曲家还不如"严格意义上的"作曲家,他们往往基于这样的事实,那就是他们所要求的电影刺激因素是基于创作-我通常会反驳说,在最佳的电影音乐中音乐是固有的戏剧结构(原因,当然是下面的这部电影配乐),这就是我所喜欢的-不过,在个别情况下绝非夸张之言,并非这位作曲家的创作灵感来自这部电影,而是这部电影受到这个音乐的启发。更不用说,它是这些个别情况中的特殊例外。

莫里康内处理旋律的能力足以融化最坚硬的心灵,这一点毋庸置疑,不过《教会》的原声音乐甚至超出了他通常的设想-这部配乐里有半打之多的旋律都是如此,这是那些屈指可数的电影作曲家连做梦都想不到的创新,哪怕这样的创新只有一次,更何况在相似的配乐里莫里康内有过六次这样的创新。不只是旋律方面-莫里康内如何构思,如何谱曲,如何围绕主题展开,如何创造性地使用它们,这些都值得深入探究。他为塞尔吉奥·莱昂内谱写的音乐也不一定有如此惊人的创意-在某种意义上至少不会成为单纯的令人眼花缭乱的聆听,没有任何作曲家会有如此非凡的技巧,更何况在此之前某些电影作曲家曾经试图这样做-不过就创作如此技艺超群的音乐而言,它是如此令人心碎地美妙,想必莫里康内正处于他的巅峰时期。

专辑排序未必一直是他的强项,不过《教会》的音轨排序是完美的。这张专辑开启于片尾的音乐-题为宛如置身天堂-它立即将我们带入了古典的领域,这样一支曲子缺席最优秀的电影音乐目录,会令该目录黯然失色。《教会》是一部宗教题材电影,莫里康内是一个有宗教信仰的人,我会对基督徒说-几个世纪以来,是他们启发了一些非凡的音乐。如此天籁般的合唱颂歌、含蓄微妙的部落打击乐与这部电影的精美主题音乐(双簧管)的混合足以让任何人屈膝下跪并赞美耶和华-这支3分钟48秒的天堂之乐,我甚至记不清楚我听过多少遍,不过有一点是肯定的,即使听成千上万遍我也不会满足。如果它创作于两百年之前,我敢肯定,它必将成为古典音乐的典范之作。 常规观点认为把这样一支曲子放在这张专辑的开头具有相当大的冒险性-恐怕没有什么可以取代它的位置。情况并非如此-接下来的瀑布是你所听过的最喜悦的、最飘逸的、最振奋的电影主题音乐之一-先是排箫,然后是由整支管弦乐团担当的最精彩绝伦的旋律,不难想象,某位作曲家真的会被飞流直下的壮美瀑布影像所启发创作出这样一支曲子,还有什么比它更能激发灵感的呢。当然,这样的享受远远没有结束-加布里埃尔的双簧管是为杰瑞米·艾恩斯的角色准备的主旋律,据说莫里康内的创作灵感来自艾恩斯随手一指的位置,他扮演的角色正坐在那儿演奏双簧管-这支编曲以简单的大键琴伴奏,仿佛是上天赐予的另一支曲子。

也许这部配乐最明显的特征是合唱音乐-银幕上土著人组成的庞大合唱团频繁表演,其中包含着影片中最重要的时刻-瓜拉尼人的圣母颂是莫里康内的一个极佳创意-像这样创作音乐,呈现出一个原汁原味的十八世纪的作品,在影片中显得永远不真实,然而它在一部1986年的电影音乐感性之内发挥了作用,真是一个了不起的成就。与所有这些杰出的主题一起,莫里康内仍然抽出时间来创作一支迷人的、轻快的曲子,吉他与长笛担当的兄弟,揭示了德尼罗在实施暴力行为、最终转变为一个被感化的角色之前,德尼罗与奎因的一段快乐时光。如果这是其他任何电影配乐的主要主题音乐,每个人都会好评如潮-不过把它放在这儿,它几乎被围绕在它周围的非凡的音乐所掩埋。

经过五支曲目之后,所有这些最美妙的变化可想而知,然而这是一部饱含黑色意味的影片,因此不可避免地,在某个阶段一些阴暗的音乐将会抵达。卡洛塔突出了一个高度暴力的时刻,绝望和愤怒在表象之下起伏。我们的生命重现了开幕线索的合唱颂歌(事实上,我是第一次在电影里听到这样的曲子)-一个类似的编曲,不过这是一支很少有人会不厌其烦地倾听的曲子。攀登慢慢的构建,从来没有离开过任何人的任何怀疑,美妙即将来临,它以瀑布主题的重奏形成了最高潮,它简直是一大亮点。忏悔又回到了黑暗的一面-盘旋的音乐在银幕上完美地呈现了德尼罗所饰演的角色深深的心理创伤-这也是伯纳德·赫尔曼在他那个时代采用过的一种创作手法,到目前为止还没有失去它的活力。苦行是围绕着整部配乐的最黑暗的主题,莫里康内再次谱写了构建再构建的一支曲子,一个简单的理念通过一个持续上升的合奏重复,直至结束,我认为完全合乎情理。

教会重复了瀑布的主题,这一次采用了一个稍微缓慢的,更为沉思的编排(排箫没有出场)。1999年我加入"正式职业",打电话参加面试的时候,我正在播放这支音乐,我暂停了这个音轨。我马上意识到它正是我想加盟的公司。河流是整部配乐里最优秀的曲子之一,作为主要的合唱主题音乐,其构建并聚集了最美妙的创作技法,当罗马教廷的殖民地代言人抵达那儿时,这支曲子赋予了河流所蕴含的传教意义(不幸的是,在他到达那儿,决定烧毁教堂并屠杀所有土著人的时候-我猜想,上帝是以一种神秘的方式行事)。接下来是加布里埃尔的双簧管的一个重奏,这支流畅优美的编曲有一个很棒的结尾。一支短暂的合唱音乐,瓜拉尼人的感恩曲是简洁的,在配乐里它如同先前的曲子一样美妙。

专辑里最黑暗的一个线索随之而来-拒绝是一支相当不和谐的、不舒服的曲子,它提醒着我们万物并非天堂。亚松森里融合了排箫、拨奏弦乐与部族打击乐,代表着巴拉圭首府的喧嚣熙攘-全部是以合唱音乐为主的主题旋律。它是一支漂亮的曲子(几年之后,莫里康内在美妙的《诺斯托罗莫》里会继续谱写一支非常相似的曲子)。黑暗的时刻再度返回到孤单,这时是真正的不和谐,虽然它没有让人觉得格格不入。瓜拉尼人延续了更加不舒服的感觉,只不过是以不同的方式表达-此时的主导力量是一个谜,它突出了不同的文化背景,与当时欧洲的政治现实混为一谈。剑再次重复了加布里埃尔的主题(不过这一次双簧管没有出现),采用了一个稍微豪迈轻快的韵律编排;这张专辑以壮美的求主怜悯结尾,这支曲子由唱诗班独唱担当,它是瀑布主题的一个令人震惊的美妙的编排。

像这样一部杰出的电影音乐,跨越了极为罕见的时间间隔,我们必须珍视。我不知道怎样才能写出比这个配乐更加优秀的文章-自18岁起,我就在互联网上写作,我早已穷尽了"天才"这个单词的定义,不过在电影音乐领域,如果这个单词适用于某个人的话,那么它只适用于埃尼奥·莫里康内。我甚至会说,它不仅仅是电影音乐,我永远都不可能听到比它更加优秀的电影音乐-坦率地说,没有可能。(当然,赫比·汉考克的《午夜旋律》是个例外,它击败《教会》赢得了1987年第59届奥斯卡最佳配乐奖。)《教会》是任何电影音乐藏品中必不可少的部分,它代表着什么样的音乐才能使一部电影达到绝对巅峰,什么样的原声专辑才能充实听者的人生。


专辑曲目及信息(SACD Virgin SACDV 2402 - United Kingdom - 2003)1


1/1 3:48 On earth as it is in heaven 宛如置身天堂

1/2 1:53 Falls 瀑布

1/3 2:12 Gabriel's oboe 加布里埃尔的双簧管

1/4 2:48 Ave Maria Guarani 瓜拉尼人的圣母颂

1/5 1:30 Brothers 兄弟

1/6 1:19 Carlotta 卡洛塔

1/7 1:52 Vita nostra 我们的生命

1/8 1:35 Climb 攀登

1/9 2:46 Remorse 忏悔

1/10 4:00 Penance 苦行

1/11 2:47 The mission 教会

1/12 1:57 River 河流

1/13 2:38 Gabriel's oboe 加布里埃尔的双簧管

1/14 0:46 Te deum Guarani 瓜拉尼人的感恩曲

1/15 3:28 Refusal 拒绝

1/16 1:25 Asuncion 亚松森

1/17 4:18 Alone 孤单

1/18 3:54 Guarani 瓜拉尼人

1/19 1:58 The sword 剑

1/20 0:59 Miserere 求主怜悯


作曲,管弦乐编曲,指挥:埃尼奥·莫里康内
乐团:罗马音乐家联盟(Unione Musicisti di Roma)
乐团:伦敦爱乐乐团(The London Philharmonic Orchestra)
合唱团:伦敦之声(London Voices)
儿童合唱团:Barnet Schools Choir
儿童合唱团:Coro di Voci Bianche dell'Arcum
双簧管[音轨1,3,13]:卡罗·罗马诺(Carlo Romano)
印第安器乐:Incantation

1 http://www.chimai.com/index.cfm?module=MUS&mode=ALB&id=2165, https://en.wikipedia.org/wiki/The_Mission_(soundtrack)
****************************************************
参见本站电影网页 -1-2
参见本站音乐网页 -1-2
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Music composed by
ENNIO MORRICONE

Roland Joffe's follow-up to his exceptional debut, The Killing Fields, was about a piece of history considerably more distant, as Spanish Jesuit missionaries see their work undone as a tribe of Paraguayan natives fall within a territorial dispute between the Slanish and Portuguese. It's not a great film, but it looks beautiful, is well-acted (Jeremy Irons is excellent as the passive senior missionary, Robert de Niro as a reformed mercenery and Ray McAnally as a papal representitive and smaller roles for Aidan Quinn, Ronald Pickup and Liam Neeson) and then of course comes the pièce de résistance, one of the greatest contributions to cinema of one of cinema's all-time-greatest contributors, Ennio Morricone. The music soars with beauty and passion, and is cinema's most extraordinary marriage of image and music this side of Once Upon a Time in the West.

It's no surprise that the soundtrack album is one of the best-selling of all time. Music plays such a key part in the film that many people who saw it will have gone out and bought the album; but this is the best type of film music, because it doesn't just "work in the film" (the faint praise given to justify any old tripe these days), indeed it doesn't just enhance the film, it absolutely makes the film - and then some. But it doesn't just do that - it's such wonderful music, it pours scorn over anyone's snobbish comments that film music is best left within films. The notion that even the best film composers are somehow lesser than "proper" composers is often based on the fact that they require the stimulus of the film in order to create - I would usually counter that by saying it's the inherent dramatic arc within the best film music (caused, of course, by following a film) that makes it what I love - but on rare occasions it's by no means a stretch to say that it's not the composer taking his inspiration from the film, it seems entirely as if it's the film which is taking its inspiration from the music. Needless to say, this is one of those occasions.

Morricone's ability to craft melodies which are enough to melt the hardest heart has never been in doubt, but The Mission goes beyond what even he usually conjures up - there are half a dozen melodies in this score which all but a handful of film composers could never dream of creating even once, let alone six times in the same score. It's not just the melodies though - it's what Morricone does with them, how he arranges them, moves them along, uses them so inventively. There might not be the astonishing creativity here of his scores for Sergio Leone - at least not in the sense of simply dazzling the listener with extraordinary techniques that no other composer, let alone film composer, had tried before - but in terms of writing such technically-proficient music which is so gut-wrenchingly beautiful, surely this is Morricone at his peak.

Sequencing albums has not necessarily always been his strongest point, but The Mission is perfect. It opens with the end credits - titled "On Earth as it is in Heaven" - and instantly we're into classic territory, a piece of music whose absence from any list of the finest film music would render that list completely irrelevant. It's a religious film, and Morricone is a religious man, and I'll say one thing for the Christians - they have inspired some extraordinary music over the centuries. The mixture here of heavenly choral chanting, subtle tribal percussion and the film's exquisite main theme (on oboe) is enough to make anyone fall to their knees and praise the Lord - I don't know how many hundreds of times I've listened to these three minutes and forty-eight seconds of musical bliss, but one thing I do know is that even after a few thousand more, it won't be enough. Had it been composed two hundred years earlier, I'm sure it would be a classical staple.

Conventional wisdom would suggest that there is considerable danger in putting such a piece at the start of the album - surely nothing could ever live up to it. Not in this case - "Falls" follows and is one of the most blissful, soaring, inspiring film themes you'll ever hear - pan flutes and then the full orchestra play the most sensational of melodies, and while it's not hard to imagine a composer being inspired by the sensational image of the waterfalls which inspire the piece, it's hard to imagine how anyone could have been more inspired than this. Of course, the treats are far-from-over yet - "Gabriel's Oboe" is the main theme for Jeremy Irons's character, with Morricone reportedly taking his inspiration from Irons's random finger placements as his character sits and plays an oboe - in this arrangement, with simple harpsichord accompaniment, it's another piece which just seems heaven-sent.

Perhaps the score's most striking feature is the choral music - frequently performed on-screen by huge choirs of natives, including in the film's greatest moment - and "Ava Maria Guarani" is a fine creation by Morricone - to write music like this, whose presentation as an authentic 18th century piece within the film never rings untrue, and yet which functions within the sensibilities of a 1986 film score, is a great achievement. And with all these great themes, Morricone still finds time to craft a charming, lilting piece for guitar and flute, "Brothers", which plays over happy moments between de Niro and Quinn just before de Niro is prompted to commit the most violent act which ultimately convinces him to become a reformed character. If this were the main theme in any other score, everyone would rave about it - here it's almost buried by the exceptional music all around it.

Five tracks gone, all of them of the most beautiful variety imaginable, yet this is a film with extremely dark undertones so inevitably darker music arrives at some stage. "Carlotta" underscores a moment of high violence, with desperation and anger rippling below the surface. "Vita Nostra" reprises the choral chant of the opening cue (and is indeed the first time it is heard in the film) - a similar arrangement, but this is a piece of music that few would ever tire of hearing. "Climb" slowly builds, never leaving anybody in any doubt that beauty is around the corner, and as it reaches its climax with the reprise of the waterfall theme, it's almost orgasmic. "Remorse" goes back to the darker side - the swirling music perfectly representing the deep psychological trauma on-screen - it's a technique also employed by Bernard Herrmann in his day, and has lost none of its power. "Penance" is based around the score's darkest theme, with Morricone again fashioning a piece which builds and builds, a simple idea being repeated by an ever-rising ensemble until the pay-off, which feels entirely justified.

"The Mission" reprises the waterfalls theme, this time in a slightly slower, more contemplative arrangement (sans pan flutes). When I joined my "real job" back in 1999, and I phoned up to arrange the interview, the music which played when I was put on hold was this track. I instantly knew this was a company I wanted to work for. "River" is one of the score's finest pieces, as the main choral theme builds and builds in the most beautiful fashion, as the papal representative in the colony is taken up river to the mission (sadly when he gets there he decides to have it burnt down and the natives all slaughtered - the Lord moves in mysterious ways, I guess). A reprise of "Gabriel's Oboe" follows, in a fluid arrangement with a terrific ending. A short choral piece, "Te Deum Guarani", is brief but just as fine as its predecessors in the score.

One of the darkest cues on the album now follows - "Refusal" is a rather dissonant, uncomfortable piece, reminding us that things are not all heavenly. "Asuncion" combines pan flute, pizzicato strings and ethnic percussion for a piece representing the hustle-and-bustle of the Paraguayan capital - all set to the melody of the main choral theme. It's a nice piece (and Morricone would go on to write a very similar one a few years later in the wonderful Nostromo). Darkness returns in "Alone", with real dissonance this time, though it doesn't feel out of place. "Guarani" continues the more uncomfortable feeling, but in a different way - this time the dominant force is one of mystery, stressing the different culture which has become mixed up in European politics. "The Sword" reprises Gabriel's theme again (no oboe this time though), even throwing in a slightly heroic lilt to the orchestration; and the album ends with the magnificent "Miserere", a stunningly beautiful arrangement of the waterfalls theme for solo choirboy.

Film scores as good as this one come along at extremely rare intervals, and must be treasured. I don't see how it would be possible to write a more beautiful one than this - having been writing on the internet since I was 18 years old I've more than used up my allocation of the word "genius", but in film music terms, if it applies to anyone then it applies to Ennio Morricone. I'd probably go as far as saying that it's not only film music that could never get better than this - quite frankly, music couldn't. (Of course, there is the exception of Herbie Hancock's Round Midnight, which beat it to the Oscar.) An essential part of any film music collection, The Mission represents the absolute pinnacle of what music can do for a film, and what a soundtrack album can do to enrich the listener's life.

Tracks

On Earth as it is in Heaven (3:48)
Falls (1:53)
Gabriel's Oboe (2:12)
Ava Maria Guarani (2:48)
Brothers (1:30)
Carlotta (1:19)
Vita Nostra (1:52)
Climb (1:35)
Remorse (2:46)
Penance (4:00)
The Mission (2:47)
River (1:57)
Gabriel's Oboe (2:38)
Te Deum Guarani (:46)
Refusal (3:28)
Asuncion (1:25)
Alone (4:18)
Guarani (3:54)
The Sword (1:58)
Miserere (:59)

 
Movie see 01 ,02
OST see 01, 02
志愿者 马涌(Chi Mai)
志愿者 马涌(Chi Mai)
报名日期 2011.11.30
所在地及职业 云南 职员
个人简介 年近不惑,云南楚雄人。毕业于昆明工学院,工科出身,一直从事财务工作。平日喜好看书、看电影、听音乐、练书法。崇拜莫翁,爱好意大利西部片和赛尔乔·莱昂内、黑泽明、小津安二郎等大师的作品。
作业记录
1.《特多 莫多》电影字幕 130412
2.《美國往事》經典臺詞翻譯 131108
3.《黄昏双镖客》 海报艺术 131119
4. 公共领域 140318
5. 莫里康内的04慕尼黑音乐会,08威尼斯音乐会中文字幕140531
6. 近20年莫里康内音乐会清单 140630
7. 埃尼奥·莫里康内的音乐 :一个音乐的乌托邦?140724
8.《西部往事》主题曲回顾 150101 (原创
9. 伟大的沉默:原声大碟发布 150112
10. 好教皇,教皇约翰二十三世 150224
11. 卡罗,一个成为教皇的人 150225
12. 卡罗,教皇其人 150301
13. 趴下,你这傻冒儿 150317
14. 一大把炸药:艺术品 150415
15. 封面专题:八恶人 151010
16. 五月,迷人的花儿 151116
17. 封面专题:五月,迷人的花儿 151116
18. 五月,迷人的花儿 -- 莫里康内与法国:爱情故事仍在延续 151116
19. 埃尼奥·莫里康内十大电影配乐
20. 火星任务 151231
21. 八恶人 160106
22. 纳瓦霍乔:一向无所畏惧 160115
23. 左轮手枪 160129
24. 《通信》160223
25. 凯马达政变 160229
26. 无名小子 160229
感谢马涌朋友的持续努力和不懈支持!
敬祝各位朋友2016健康快乐,再谱新篇
 
 
2016.03.18
 
 
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