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The person who Ennio Morricone and his deeds
Editor HAN
Ennio Morricone born November 10, 1928 in Rome, he is an most famous film music composer and conductor in the present world.

He has composed and arranged scores for more than 500 film and TV productions and widely acknowledged as one of the most prolific and influential film composers of his era. He is well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.

He wrote the characteristic film scores of Leone's Spaghetti Westerns A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966) and Once Upon a Time in the West (1968). In the 80s, Morricone composed the scores for John Carpenter's horror movie The Thing (1982), Leone's Once Upon a Time in America (1984), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988). His more recent compositions include the scores for Oliver Stone's U Turn (1997), Tornatore's The Legend of 1900 (1998) and Malèna (2000), De Palma's Mission to Mars (2000), Lajos Koltai's Fateless (2005), and Tornatore's Baaria - La porta del vento (2009).

Morricone has received two Grammy Awards, two Golden Globes, five BAFTAs in 1979–1992, seven David di Donatello, eight Nastro d'Argento, and the Polar Music Prize in 2010. In 2007, he received the Academy Honorary Award "for his magnificent and multifaceted contributions to the art of film music". The composer also has been nominated for five Academy Awards for Best Original Score during 1979–2001.(Wiki)

 

Morricone received an honorary Academy Award on February 25, 2007 , and become the second received the award of the composer following the composer Alex North (1910-1991)in the Oscar history
American Clint Eastwood awards to the Ennio Morricone and Translation
There aren't many composers whose music is immediately identifiable after just a couple of whistled notes.

Such is the influence of Ennio Morricone that all it takes is a bit of whistling to evoke the Italian composer's Maestroful, genre-defying work on the spaghetti westerns he scored for Sergio Leone -- films such as 1967's "A Fistful of Dollars," "For a Few Dollars More" and "The Good, the Bad, and the Ugly."

Those oft-imitated, never-equaled scores would be sparkling highlights on any composer's list of credits, but in a career that spans almost 50 years and some 500 film and TV scores, Morricone's formidable talent has been applied to an astonishing breadth of work. He has created romantic, near-operatic scores for films such as 1990's "Cinema Paradiso" from Giuseppe Tornatore and Adrian Lyne's 1998 remake of "Lolita" and has imparted a stunning blend of epic grandeur and sublime melancholy to such films as Leone's 1984 crime epic "Once Upon a Time in America" and the landmark verite 1967 war film "The Battle of Algiers." And he's written brilliant, often counterintuitive scores to movies that range from the dark satire of 1998's "Bulworth" from Warren Beatty to the baroque horror films of Dario Argento, including the 1996 production "The Stendhal Syndrome."

This year, Morricone's work is being recognized, appreciated and celebrated in a number of significant ways. First and foremost, he is set to receive an honorary Academy Award at Sunday's ceremony. It will be Morricone's first Oscar, though he has been previously nominated five times, for his scores for 1978's "Days of Heaven" from Terrence Malick, 1986's "The Mission" from Roland Joffe, 1987's "The Untouchables" from Brian De Palma, 1991's "Bugsy" from Barry Levinson and, most recently, for Tornatore's "Malena" in 2001.....(Reuters)

1. Poor life of childhood and a child prodigy
Ennio Morricone was born in 1928 in Trastevere Rome. They are working class ( Italian music critic Sergio Miceli said: "Morricone's family was proletarian"). His father played the trumpet in night clubs and music halls, his father's job was their only source of income. So when his father was ill, Ennio, even as a young boy, have to took his place at night. Hardship and hunger. and the brutal World War II. The experience deeply affected the composer's emotions, we can clearly felt this point from his many works
But Morricine is a child prodigy, he began composing music as a six-year-old. At age 12, his parents enrolled him in a four-year harmony program at Accademia di Santa Cecilia, a Roman music conservatory. A fast-learner, young Morricone finished the program in a mere two years (or an amazing six months if one believes some reports!) and graduated with honors while finding time to study the trumpet as well. (His father was a jazz trumpeter.) Morricone went on to perform as a trumpet player in Roman night clubs before composing and arranging scores for RAI television by the mid-1950s. Morricone also worked for RCA record company from the late 50s through mid- 1960s, arranging songs for the likes of Mario Lanza, Renato Rascel and Rita Pavone. In his spare moments, he managed to provide incidental music for a number of plays, contributed songs to a revue and scored a ballet. Morricone began composing film scores with 1961's "Il Federale/The Fascist". He also joined an experimental music group called Nuova Consonanza in 1965.
 
Morricone childhood's old flat in the Di Trastevere of Rome
Morricone's father Libera Morricone and mother Mario Morricone. his father's job was their only source of income
Morricone childhood's old flat in the Di Trastevere of Rome
Morricone's father Libera Morricone and mother Mario Morricone. his father's job was their only source of income (see here)
Search the 'Rome Di Trastevere' in the Google, it is 13th region of Rome. Here is a common people area of ancient Rome
Search the "Rome Di Trastevere" in the Google, it is 13th region of Rome. Here is a common people area of ancient Rome
Morricone's professor Goffredo Petrassi recall his student Ennio Morricone
The score 'Sextet' composed by Ennio Morricone in 1953 (15 years old)
Morricone's professor Goffredo Petrassi recall his student Ennio Morricone
The score "Sextet" composed by Ennio Morricone in 1953 (15 years old)

 

2. He melodize for Sergio Leone's Spaghetti Westerns and got Great success
Morricone began composing film scores in the early '60s. Though his first films were undistinguished, Morricone's arrangement of an American folk song intrigued director (and former schoolmate) Sergio Leone. Leone hired Morricone and together they created a distinctive score to accompany Leone's different version of the Western, A Fistful of Dollars (1964). Rather than orchestral arrangements of Western standards à la John Ford -- budget strictures limited Morricone's access to a full orchestra regardless -- Morricone used gunshots, cracking whips, voices, Sicilian folk instruments, trumpets, and the new Fender electric guitar to punctuate and comically tweak the action, cluing in the audience to the taciturn man's ironic stance. Though sonically bizarre for a movie score, Morricone's music was viscerally true to Leone's vision. As memorable as Leone's close-ups, harsh violence, and black comedy, Morricone's work helped to expand the musical possibilities of film scoring. Though he was initially billed on Fistful as Dan Savio, Morricone's name became almost as well-known as Leone's when his more ambitious score for The Good, the Bad and the Ugly (1966) yielded a Top Ten hit (despite his avowed disdain for pop music soundtracks).

Even more so than in the first two Dollars films, Morricone's scores for The Good, the Bad and the Ugly and Leone's epic Once Upon a Time in the West (1968) elevated the action to operatic heights. Reaching crescendos in The Good's famous graveyard shootout and West's showdown between Charles Bronson's Harmonica and Henry Fonda's Frank Booth, Morricone and Leone created set pieces that were as powerful musically as visually, placing music on a par with the image rather than subordinating it. Integrating a spectral harmonica into the theme music for Booth as well as Harmonica, the soundtrack hints at their fateful relationship long before the truth is visually revealed. Morricone's scores were so integral to Leone's Westerns that he had Morricone write and record Once Upon a Time in the West's main themes, and then played them during shooting so that the actors could move to the score's rhythms. Morricone and Leone repeated this for their equally effective collaboration on the gangster saga Once Upon a Time in America (1984).

 
A fistful of dollars (1961)
For a few dollars more(1965)
The good, The bad abd The ugly (1966)
Once upon a time in the west(1969)
Once upon a time in revolution (1971)
Once upon a time in America (1984)
Morricone and Leone
Morricone and Leone
Morricone and Leone
 
 
3. Most prolific and multi-style composers for film music
This astoundingly prolific Italian composer's alternately dreamily hypnotic, bracingly dissonant and tensely pulsating scores have graced nearly 400 films and TV programs since the early 1960s. Ennio Morricone first came to international prominence with a haunting score that whined and whistled through the parched and dusty streets of Sergio Leone's landmark "spaghetti" Western, "A Fistful of Dollars" (1964)--the first of six collaborations between the two. Several of his musical underscores have proven popular in the USA, particularly those for Roland Joffe's "The Mission" (1986) and Brian De Palma's "The Untouchables" (1987), but he may be most famous for the rousing theme to Leone's "The Good, the Bad, and the Ugly" (1966-Italy; 1968-USA).

Morricone's work has often been cited for its wit, invention and quirkily experimental instrumentation. He combined electric guitars and harmonicas with orchestras long before such pairings became fashionable. Morricone has also favored unconventional percussion (e.g., church bells, bullwhips cracking and pistol shots) and vocalists that chant, whistle and/or hum.

The Leone-Morricone collaboration numbers among the closest and most significant in film history. One cannot imagine seeing Leone's Cinemascope closeups or landscapes without hearing Morricone's music that added layers of emotional meaning. The composer greatly enhanced the operatic feel of films by often providing memorable leitmotivs for Leone's trios, most famously in "Once Upon a Time in the West" (1969).

Morricone has also worked extensively with such notable Italian filmmakers as Bernardo Bertolucci ("1900" 1977), Pier Paolo Pasolini ("The Decameron" 1971), Gillo Pontecorvo ("Burn!" 1969) and Dario Argento ("Four Flies on Gray Velvet" 1971). He has also lent his formidable skills to a host of Hollywood and international productions. He garnered Oscar nominations for Best Original Score for Terrence Malick's "Days of Heaven" (1978), "The Mission", "The Untouchables" and Barry Levinson's "Bugsy" (1991).

Morricone has worked for television, from a single title piece to variety shows and documentaries to TV series, including the US TV Western The Virginian (1971), Moses (1974) and Marco Polo (1982). One notable composition, "Chi Mai" was used in the films, Maddalena (1971)[15] and Le Professionnel (1981)[16] as well as the TV series The Life and Times of David Lloyd George (1981).[15] It was a surprise hit in the UK, almost topping the charts. He wrote the score for the Mafia television series La piovra seasons 2 to 10 from 1985 to 2001, including the themes "Droga e sangue" ("Drugs and Blood"), "La morale", and "L'immorale".[17] Morricone worked as the conductor of seasons 3 to 5 of the series. He also worked as the music supervisor for the television project La bibbia ("The Bible"). In the late 1990s, he collaborated with his son, Andrea, on the Ultimo crime dramas. Their collaboration yielded the BAFTA-winning Nuovo cinema Paradiso. In 2003, Ennio Morricone scored another epic, for Japanese television, called Musashi and was the Taiga drama about Miyamoto Musashi, Japan's legendary warrior. A part of his "applied music" is now applied to Italian television films.

The total quantity of the film as chronology in. 2011
Year
Official movie's number
NON-Official movie's number
Total
Note
1959-1969
108
35
143
 
1970-1979
141
26
167
 
1980-1989
65
26
91
 
1990-1999
55
38
93
 
2000-2008
32
78
110
 
Total
401
203
604
 
Morricone's sweeping melodies have been increasingly evident on American TV over the last two decades. Beginning with the miniseries "Moses--the Lawgiver" (CBS, 1975), he has gravitated toward large scale historical subjects, often of a Biblical nature, usually in the miniseries format. These credits include "Marco Polo" (NBC, 1982), "Abraham" (TNT, 1994), "Jacob" (TNT, 1994), "Joseph" (TNT, 1995) and "Moses" (TNT, 1996).

Morricone's American feature credits of the 1990s include Wolfgang Peterson's 1993 blockbuster "In the Line of Fire" (which reteamed him with Leone's spaghetti western star Clint Eastwood), Mike Nichols' "Wolf", "Love Affair" and "Disclosure" (all 1994). In true form, Morricone helped set the eerie tone for the unsettling 1997 releases "Lolita" and "U-Turn" as well as Dario Argento's irreverent 1998 remake "The Phantom of the Opera" (released in the USA in 1999). While Morricone has spoken out against pop songs as film scores in lieu of the more evocative but less radio friendly symphonic instrumental pieces, his music for Warren Beatty's "Bulworth" (1998) meshed well with the film's pivotal hip-hop soundtrack. 1998's fantastical period piece "The Legend of 1900/The Legend of the Pianist on the Ocean" (released in the USA in 1999) challenged Morricone to come up with fresh yet authentic jazz pieces for this tale of a ship-bound musical prodigy. Both academically and evocatively, the efforts were a success, allowing this classically-trained Italian musician to pay homage to his father as well as proving he could tackle the free form American style. 2000 saw the prolific and influential composer score Brian De Palma's flop "Mission to Mars" as well as frequent collaborator Roland Joffe's "Vatel" and Giuseppe Tornatore's "Malena", the latter garnering Morricone his fifth Oscar nomination.

To listen famous music of Morricone (Film, Chronology number)
Algiers November 1 1954 (La battaglia di Algeri, NA65-8) Chanson lointaine (Le Serpent, NA73-6) Viaggio (Stanno tutti bene/ Everybody's Fine, NA90-7)
Abolicao(Queimada, NA69-11) The Wild Horde (My name is nobody, NA73-4) Ricordare (Una Pura formalita), NA94-1)
La califfa (NA70-4) Days of Heaven ( NA78-4) 1900's theme(The legend of 1900, NA98-4)
Io e te (Metello, NA69-10) Chi Mai (Le professionnel), NA81-5) /Manela (NA00-4)
/Investigation of a Citizen Above Suspicion (NA69-4) Marco Polo (NA82-4) La luz prodigiosa (NA02-6)
Here's to you (Sacco and Vanzetti, NA71-19) On earth as it in heaven (The Mission, NA86-2) sinfonia per baaria (Baaria) NA08-3)
Il Maestro E Margherita (NA72-9) The untouchable" (NA878)
Rabbia e tarantella (Allonsanfan, NA74-1) Cinema paradiso (NA882)
il quarto stato (Novercento,NA76-5) Casualties Of War (NA89-3)
Top 120 of Morricone >>>>
Ennio Morricone is one of the most eclectic and prolific film composers in the entire history of the genre. He began composing scores for Italian westerns (often called "spaghetti westerns") in the 1960s, and over the course of his career has created soundtracks for over 400 films and television productions released in English, Italian, German, and French. In addition to westerns, he has composed highly melodic scores for mystery thrillers, romantic dramas, comedies, and epics, including The Untouchables, La Cage aux Folles, The Mission, and Disclosure.

In an interview with Fred Karlin, author of Listening to Movies, Morricone discussed his humble beginnings, stating, "My first films were light comedies or costume movies that required simple musical scores that were easily created, a genre that I never completely abandoned even when I went on to much more important films with major directors."

Yet these "simple musical scores" were inherently ingenious, immediately setting Morricone apart from his contemporaries. The compositions were marked by a blend of rock, jazz, folk, blues, classical music, and "found" sounds—birdcalls, gunshots, footsteps, the lash of a whip, rolling baby carriages, animal noises, and, most notably, the human whistle. Writing for the Village Voice in 1986, Peter Watrous remarked, "[Morricone] has an acute sense for sound, and if it means using lower-class instruments—electric guitars, cheezo keyboards—to gain a specific effect, he'll do it." Morricone's work with director Sergio Leone on the classic 1960s "man with no name" trilogy vaulted both Morricone and actor Clint Eastwood to instant cult stardom. In scores for A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad, and the Ugly, Morricone mirrored the violence, irony, and campy humor pervading the classic Eastwood westerns.

Though westerns established Morricone as a "name" in the film-score business, his work with major directors such as Franco Zeffirelli, Federico Fellini, Roman Polanski, and Roland Joffe put him on par with composers like John Williams, the man who dominated film music in the 1980s with the memorable themes to Jaws, Close Encounters of the Third Kind, and Star Wars.

In the 1990s, roughly a quarter-century after he first attained prominence, moviegoers would be moved by Morricone's dramatic swells in big-screen epics such as City of Joy, and startled by his jagged strings in thrillers like Wolf. "Morricone, in short, is a postmodernist," wrote Harlan Kennedy in a 1991 interview in American Film. "Every acoustic gewgaw is grist for his mill; every period of musical history may be ransacked for inspiration. No wonder that in the 1990s, at the peak of his form, he's become the musical general in the Italian invasion of American cinema." Still, Morricone is loath to define himself in any category of film composers. He said in American Film, "I can't classify myself. Others must do it. Others, if they wish, can analyze my works."

Morricone has often described his music as being about the pain inside a character. He told American Film contributor Kennedy that the screams, whistles, bells, and whips used in the "man with no name" trilogy were essential because they underlined the quirks of the character played by Eastwood. "I do only what I think is correct," he said. "A composer has the obligation to 'invent and capture' noises, the musical sounds of life."

Perhaps Morricone's most famous single "invention" was the theme song for The Good, the Bad, and the Ugly, which topped the American charts after it was borrowed and slightly altered by Hugo Montenegro—a slight that still irritates the composer. And though he writes almost exclusively for events onscreen, Morricone's soundtracks have endured on their own when released separately, often topping album charts.

Director Leone once told Kennedy that in the beginning of their collaboration, he would invite Morricone to his house and have him work on a piano that was out of tune, because "if a score is good, it must rise above a bad instrument." For the most part, Morricone begins his work on a film score by consulting the director about problem spots in the film and suggesting musical solutions. Only after this collaboration takes place does Morricone begin his work with an orchestra. Watrous explained of Morricone's signature style, "Where Morricone comments on the action, it's wildly imaginative kitsch.... Even without the visuals, the soundtracks are perfectly formed, if small, bits of music reeking sleaze." This down-and-dirty aspect of his work has attracted a devoted following among other musicians, including experimentalist John Zorn, who made his own "cover" versions of some of Morricone's work in the 1980s.

Despite the suggestion that Morricone's music needs no visual accompaniment, the composer told Listening to Movies author Karlin, "Actually, people are little concerned with the musical element if they are watching a film, except when the music is ... particularly emphasized." In fact, Morricone is usually brought in only after a film is completed. Because at this point it is effectively too late to alter the look of the film, some directors rely on the score to smooth over any weak points in the drama. Many films depend heavily on music to establish suspense, for example. Ultimately, the composer is confronted with having his score cut to fit precise moments of the film. (To counter this, Morricone has become active in the release of his works as they were initially conceived, personally overseeing the musical selection and arrangements.)

Musically enhanced cinematic moments, nonetheless, can carry a film. In a 1992 review of the movie Bugsy, an Entertainment Weekly reviewer stated, "Morricone achieves something here that [very few] even try: music that's as integral to the movie's very conception as the dialogue, camera work, and performances." In American Film, Morricone supported this statement by insisting that music in a film add depth to the story and characters; it must "say all that the dialogue, images, effects, etc., cannot say."

If Morricone has a weakness, it is his incredible productivity, which inevitably leads to the occasionally listless score; this was the critical consensus about his work on the generally forgettable films So Fine, Butterfly, and The Thing. Writing for Melody Maker, Frank Owen found the soundtrack to The Mission "just plain dull."

Indeed, Morricone hardly slowed down at all as he entered his eighth decade of life, remaining active on both sides of the Atlantic in the late 1990s and early 2000s. He showed his range by writing the score for actor-director Warren Beatty's film Bulworth, and also rejoined Italian director Giuseppe Tornatore in 1998 for The Legend of 1900. Morricone's score for Tornatore's 1988 film Cinema Paradiso has remained one of his most beloved, and the new score was hailed for its musical-historical accuracy and for the research its composer had put into the enterprise.

Tornatore and Morricone teamed up once more in 2000 for the Italian melodrama Malena, whose score brought Morricone his fifth Academy Award nomination to go with a host of other cinematic awards. The first four were for Days of Heaven (1978), The Mission (1986), The Untouchables (1987), and Bugsy (1991). To go with these formal accolades, Morricone notched a more modern kind of honor in 2002 when a group of dance music DJs issued an album, Morricone RMX, devoted to remixes of music from his film scores. A similar effort, Ennio Morricone Remixes, appeared on the German label Compost the following year. "I am honored and surprised that this happens," Morricone told London's Independent newspaper.

Morricone continued writing classical music as well, although it was more often heard in Europe than in the United States. Major validation of his music came from the classical world in 2004, when best-selling cellist Yo-Yo Ma recorded an album of arrangements of Morricone's film music. The 76-year-old composer arranged and conducted the music for the album himself. Asked by the London Sunday Telegraph to look back on his career, Morricone pronounced himself "satisfied with what I've done. But I still think I can improve. You can always do better, you know."

1999年法国钢琴家理查德·克莱德曼(Richard Clayderman) 與莫里康内合作改编的了钢琴演奏的專輯唱片“电影情诉”
2004年美国华裔大提琴演奏家馬友友與莫里康内合作,改編的大提琴演奏曲
2009年发行的莫里康内室内乐专辑'Chamber Music'
2010年新西兰古典跨界音乐女高音海莉 薇思特拉 Hyley Westenra)专辑《天堂之音》
 
4. Morricone and Oscar

Ennio Morricone earned him great honor by way of his hard work and pioneering life
.He received numerous various awards for over the years from Italy, Britain, France, Germany, the United States, Spain, Sweden and other countries. Please see below list (arranged by winning the first order award)

No.
Organization
Award Number
Award year
Note
01
8
1965,1970,1972,
1985,1988,1999,
2000,2001
02
5
1979,1987,1988,
1992,2001
03
5
1980,1985,1987,
1988,1991
Best Original Film Score and Best Score
04
2
1980,1982
05
6
1982,1985,1988,
1990,1992,2001
06
2
1984,2001
07
2
1987,2000
Best Original Score - Motion Picture
08
3
1988,1994,1995
09
1
1988
10
6
1988,1989,1991,
1999,2000,2006
Best Music (Migliore Musicista)
11
1
1988
12
1
1989
13
1
1991
14
3
1993,1996,2001,
15
1
1994
16
1
1995
17
Grammy Awards Nominated
3
1995,1997,1999
18
1
1995
19
1
1997
20
1
1999
Life Achievement Award
21
1
1999
22
1
2000
23
2
2001,2002
24
1
2002
25
1
2004
26
1
2005
27
1
2007
Honorary Award For his magnificent and multifaceted contributions to the art of film music (statuette).
Total
Nominated
21
1979-2005
Be rewarded
41
1965-2007
Info from Official site >>>>
Morricone received an honorary Academy Award on February 25, 2007, presented by Clint Eastwood, "for his magnificent and multifaceted contributions to the art of film music." With the statuette came a standing ovation. Though nominated five times, he had not previously received an Oscar. In conjunction with the honor, Morricone released a tribute album, We All Love Ennio Morricone, that featured as its centerpiece Celine Dion's rendition of "I Knew I Loved You" (based on "Deborah's Theme" from Once Upon a Time in America), which she performed at the ceremony. Behind-the-scenes studio production and recording footage of "I Knew I Loved You" can be viewed in the debut episode of the QuincyJones.com Podcast.[36] The lyric, as with Morricone's Love Affair, had been penned by Oscar-winning husband-and-wife duo Marilyn and Alan Bergman. Morricone's acceptance speech was in his native Italian tongue and was interpreted by Clint Eastwood, who stood to his left. Eastwood and Morricone had in fact met two days earlier—for the first time in 40 years—at a reception.

Morricone and Alex North (American composer 1910-1991) are the only composers to receive the honorary Oscar since the award's introduction in 1928.

The following are nominated records for 5 times
No.
Year
Film (Chronology)
Main competitors
01
1979
(USA film) Midnight Express .Composer Italian Giorgio Moroder (1940- )
02
1987
(Italy-UK film) The Last Emperor. Composer David Byrne( Scotland 1952- ), Ryuichi Sakamoto(Japan 1952- ), Cong Su (Chinese living in Germany 1957- )
03
1988
(USA film) Round Midnight. Composer Herbie Hancock(American 1940- )
04
1992
(USA film) Beauty and the Beast. Composer Alan Menken (American 1949- )
05
2001
(USA film) Crouching Tiger. Hidden Dragon. Composer Tandun(Chinese-American 1958- )
5. A great art Maestro with very sense of justice
Ennio Morricone is a great artists with strong sense of justice and social responsibility. He used the melody of sorrow, contemplation and the black humor to express the position in many important films. Example,In the "La Califfa","Malena" films, his music expressed great sympathy and support for the nobody who Exploited and insulted people locate most bottom in the society; In the "Queimada","La battaglia di Algeri","Casualties Of War", condemnation and hatred to of the imperialist war of aggression; And in the concert hold in the UN in 2007, He conducted the symphony for commemorate the 911 "Voices From the Silence" composed bu him, he not only by way of the music, but rather by the human voice directly spoken :"There is no such thing as a black tune, there is no such tune as a white tune. There is only music, brother. And it's music that we're going to sing. Where the rainbow ends." Maestro's independent personality and spirit of the courage, to command moving and esteem
 
The still of the "Malena"
The still of the "La Califfa"
The still of the "Casualties Of War" and a interview with BBC
 
6. Morricone in his gold later years
.
Since 2001, Morricone has been on a world tour, the latter part sponsored by Giorgio Armani, with the Orchestra Roma Sinfonietta, touring London (Barbican 2001; 75th birthday Concerto, Royal Albert Hall 2003), Paris, Verona, and Tokyo. Morricone performed his classic film scores at the Munich Philharmonie in 2005 and Hammersmith Apollo Theatre in London, UK, on 2006-12-01 and 2006-12-02.


Ennio Morricone at the United Nations HeadquartersHe made his North American concert debut on January 29, 2007 Auditorio Nacional in Mexico City and four days later at Radio City Music Hall in New York City. The previous evening, Morricone had already presented at the United Nations a concert comprising some of his film themes, as well as the cantata Voci dal silenzio to welcome the new Secretary-General Ban Ki-Moon. A Los Angeles Times review bemoaned the poor acoustics and opined of Morricone: "His stick technique is adequate, but his charisma as a conductor is zero." Morricone, though, has said: "Conducting has never been important to me. If the audience comes for my gestures, they had better stay outside."

On December 12, 2007, Morricone conducted the Roma Sinfonietta at the Wiener Stadthalle in Vienna, presenting a selection of his own works. Together with the Roma Sinfonietta and the Belfast Philharmonic Choir, Morricone performed at the Opening Concerts of the Belfast Festival at Queen's, in the Waterfront Hall on October 17 and 18, 2008. Morricone and Roma Sinfonietta also held a concert at the Belgrade Arena (Belgrade, Serbia) on February 14, 2009.

On April 10, 2010, Morricone conducted a concert at the Royal Albert Hall in London with the Roma Sinfonietta and (as in all of his previous London concerts) the Crouch End Festival Chorus. On August 27, 2010, he conducted a concert in Hungary. Two other concerts took place in Verona and Sofia (Bulgaria) on 11 and 17 September 2010.

 
2001-2010 Morricone's concert-1 (Arranged the year, From his official site)
Year
Number
City
2001
1
London
2002
4
Ravenna, Arena di Verona, Parigi, Szeged(Hungary)
2003
3
Neaples, London, Roma
2004
12
Milan, Budapest,Tokyo, Lisbona, S. Giovanni Rotondo(IT), Arena di Verona, Rome, Munich, Rome, Pesaro(IT), Rome, Rome
2005
8
Florence, Bilbao(Spain), Moscow, Lecce(IT), Athens, Osaka(Japan), Tokyo, Rome
2006
7
Tourin, Rome, Arena di Verona,
Taormina(IT), Santander(Spain), London. Milan
2007
23
New York, United Nation, New York, Roma, Milan, Bologna, Rio de Janeiro(Brazil), Civitavecchia(IT), Roma, Krakow(Poland), Monza(IT), Neaples, Florence, Lorca(Spain), San Casciano(IT), Venezia, Seoul(Korea), Catanzaro (IT), Roma, Roma, Roma, Wien, Brescia(IT), Roma
2008
13
Roma, Moscow), Santiago(Chile), San Paolo(Brazil), Tourin, Mexico City(Mexico), Monterrey(Mexico), Guadalajara(Mexico), Vilnius( Lithuania), Pescara(IT), Lucca (IT), Athens(Greece), Belfast Waterfront Hall(UK, Belfats Waterfront Hall)
2009
16
Belgrado, Rabat(Morocco), Pechino(Beijing), Seoul(Korea), Taipei(Taiwan), Turin, Bergamo(IT), Moscow, Ohrid (Macedonia), Aosta(IT, Milan, Gdansk(Poland), Catanzaro(IT), L'Aquila(IT), Milan, Latina(IT)
2010
7
London, Shanghai , Bari(IT), Verona, Warsaw, Milan, Pesaro(IT)
2011
1
Moscow; 5.16-18 Seoul(3), 6.18-19 Santiago(2),7.14-15 Prague(2)
Total
95
 
 
2001-2010 Morricone's concert-2 (Arranged the nation or region)
Nation or region
Times
Nation or region
Times
Nation or region
Times
Nation or region
Times
Italy
52
Hungary
2
Germany
1
Moroco
1
UK
5
Greece
2
Portugal
1
Chile
1
Russia
4
China
2
Serbia
1
Spain
3
Korea
2
Austria
1
Poland
3
USA(and UN)
2
Lithuania
1
Japan
3
Brazil
2
Taiwan
1
Mexico
3
France
1
Macedonia
1
Morricone golden career in his later years, he has also benefited from a happy family..On 13 October 1956, he married Maria Travia and had his first son, Marco, in 1957. Travia has written lyrics to complement her husband's pieces. Her works include the Latin texts for The Mission. They have three sons and a daughter, in order of birth: Marco(1957), Alessandra, the conductor and film composer Andrea (Andrew, 1964), and Giovanni (a filmmaker who lives in New York City).
Ennio Morricone and his wife Maria Morricone
Morricone's family
Morricone and his son Andrea
conductor and film composer Andrea Morricone
Andrea Morricone (Left) and a filmmaker Giovanni Morricone (Right)
 
References 01020304050607080910..........
The End
Feb.15,2013
 

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