Main Title from BloodlineVarèse Sarabande
首次以CD形式发行了Ennio Morricone在1979年创作的经典作品《朱门血痕》，限量2000份。CD中收录的曲目与1980年发行的原声黑胶唱片相同，并把黑胶中的第一首Main Tltle (Love Theme)/Mountain Murder拆分成两首曲目，以增强专辑的聆听体验。Morricone这部作品中的爱情主题，可以称得上是他音乐生涯中写过最为动人的一段旋律之一。喜爱Morricone的乐迷，趁著还没卖完，赶紧去入手一张收藏吧。迷失太空Lost in Space
人 物 简 介
幼年时代的埃尼奥是一个莫扎特式的神童，6岁就开始了作曲。12岁，父母把他送入罗马的圣切契里亚(Accademia di Santa Cceilia)音乐学院，让他在作曲系进行了为期4年的正规学习。不到两年的时间里，他突飞猛进地学完了4年的课程，甚至当时还有报道说这个神童6个月内就掌握了所有知识!不管报纸怎么说，在以极其优异的成绩毕业以前，他还有足够的时间和精力去学他所喜爱的另一门专业——小号。在60年代初投身电影界之前，莫里康内一直致力於管弦乐和室内乐创作。在古典方面所受的正统训练和原来的专业取向，对他日后独具一格的电影音乐创作风格也产生了很大影响。1961 年的配乐处女作《法西斯分子》(The fascist/Ⅱ Federale)，使他立刻向世人证明了自己是个天生的电影音乐作曲家。
确切地说，莫里康内与义大利导演赛尔乔·莱昂内(Sergio Leone/1921～1989)自1964年至1984年合作的20年，是两人艺术生涯中的黄金时代。两位奇才怪杰在世界电影史上共同写下了熠熠发光的一页。1964年，莱昂内拍摄了他的第一个三部曲——「赏金三部曲」中的第一部：《一把金币》(A Fistful of Dollars)，1966又拍摄了三部曲的第二部：《为了多几块金币》(For A Few Dollars More)。电影音乐史上首次出现的粗礪、瀟洒的小号主题和空寂、辽远、漫不经心的口哨独奏，令人耳目一新，给各国观眾留下了深刻的印象。
在莱昂内於1966年拍摄的这一系列的第三部作品——《好坏丑》(The Good, The Bad and The Ugly)中，他确立了前两部影片中已初见端倪的「义大利麵条」(Spaghetti)风格。影片中的无名枪手代表「好」的一方，其对立面——一个心狠手辣的北方军军官代表「坏」的一方。类似西部片中好人战胜恶棍的公式化结构，经过莱昂内的「义大利化」，出现了第三条线索——一个中间型人物。这是个不好也不太坏的、带有喜剧色彩的「丑」的形象。丑的一方所代表的第三势力的存在，打破了原来的正义必然战胜邪恶，有时也就是英雄必然会救出美女的相对直白简单的程式。在角色由於多员化而使戏剧性得到丰富的同时，影片的可视性、观赏性也大大提高。这次，一向富於求新和实验精神的作曲家又为影片配乐注入了勃勃生机和丰富的内涵。电影音乐史上又首次出现了甩鞭声、由男声合唱出的戏謔音效，以及加弱音器小号怪诞、调侃的音色。
在6年后的《革命往事》(Once Upon A Time——The Revolution/1972 )中，莱昂内作品里洒脱、戏謔的意味仍有保留，同时一种强烈的怀旧情绪也留存下来。女高音的无言哼呜贯穿在了「往事三部曲」中，成为第二个系列最为显著的风格特徵。在1984年的《美国往事》(Once Upon A Time In America)中，动人心魄的排萧独奏、「地下酒馆」里的拉格泰姆(Ragtime)风格乐段和弦乐重奏出的岱博拉主题等无不令人重又耳目一新，嘆为 「闻」止。当男主角麵条(Noodles)凝立在车站的蒸汽和烟雾中，失魂落魄地目送女友岱博拉离去时，女高音歌唱家艾达(Edda Dell'Orso)那令人神往和心醉的音色再次悠然飘现……
莱昂内於1968年拍摄的《西部往事》(Once Upon a Time in the West)中，「好坏丑结构」保留了下来。色厉内荏的大鬍子夏延的主题，由幽默调侃的班卓琴演奏。世界观眾很难忘记那凄厉哽咽、刺人心肺的口琴声，更难忘那牵动著人类共有的怀旧情结，彷彿飘过了无限时空的女高音无言哼唱。在使得莱昂内——莫里康内的代表作《西部往事》成为不朽名作的诸多因素中，音乐所起的作用再大不过了。「往事主题」具有的穿透力和强大感染力，为一般影片配乐不能相提并论。那辽阔宽广、舒缓动人、含义深刻的旋律是无法用语言来形容的。「住事主题」是莫里康内的代表作，又是世界电影音乐的颠峰之作。在用各种文字书写的有关这位作曲家的介绍或评论文章中，它是人们必然要涉及的一段音乐，同时又是上至影评家、下到普通观眾以及无数音乐爱好者永远怀著讚叹和敬畏之情去聆听、去谈论的一段音乐。其迷人的音色、流畅的旋律和雋永的风格，对世界各国的许多影片产生了影响。
Label: VARESE SARABANDE
Average Customer Review: 5.0 out of 5 stars
It’s 2016 and Ennio Morricone is 87 years old. He’s still a busy composer and also in the middle of a world concert tour celebrating his 60 years in music. And just last night he won the Best Score Academy Award for The Hateful Eight. For lovers of great film music, there could be little as exciting as all of this.
To join the celebration we are thrilled to bring our original soundtrack release for the 1979 thriller Bloodline to CD, in its entirely, for the first time. We had included some highlights from the score on our 1990 CD release of Morricone’s Red Sonja, but this time it’s all here! Bloodline features one of the maestro’s most beautiful love themes.
Audrey Hepburn, Ben Gazzara, James Mason, Irene Papas, Omar Sharif all starred in director Terence Young’s film version of Sidney Sheldon’s novel Bloodline.
Sam Roffe, president of a multi-national pharmaceutical corporation, is killed while mountain-climbing. It is first determined to be an accident, but Inspector Max Hormung later deduces that Roffe was murdered. Sam's daughter Elizabeth (Hepburn) assumes control of the company, and while traveling through Europe she immediately becomes a target as well. Suspicion falls on the Roffe cousins, all of whom want to go public with the company and sell their stock at a huge profit. Since this would be against her father's wishes, Elizabeth rejects their advice and decides to keep the company within the family. As Inspector Hormung investigates the background of the cousins, more attempts are made on Elizabeth's life. Hoping to reveal the guilty party, Hormung is able to connect these attempts to a series of murders on prostitutes, which are recorded on snuff films.
Limited Edition of 2000 copies
By James Southall
Wednesday March 30, 2016
Composed by Ennio Morricone
Varese Sarabande / 2016 / 48m
Part of that wonderful genre of film that existed primarily in the 1970s, the “international thriller”, Bloodline – based on Sidney Sheldon’s novel – featured a typically diverse cast, led by Audrey Hepburn who inherits her father’s pharmaceutical company after he is killed and then finds herself targeted, inevitably while travelling around Europe. The cast also inevitably includes Ben Gazzara, more inevitably still James Mason and most inevitably of all Omar Sharif. It is fair to say that Dr No director Terence Young was not in one of the more successful periods of his career at the time – after this flopped, his next film (which he edited and according to some sources directed) was The Long Days, a six hour Iraqi film written by and about Saddam Hussein (you may have heard of him) and perhaps in an attempt to show that yes indeed, a once-glorious career trajectory could take you even lower than that, he followed it up by making one of the most colossal turkeys of all time, Inchon.
Bloodline came just as the great Ennio Morricone started throwing in slightly more American movies amongst his European projects and featured an LP release at the time (1979) by Varèse Sarabande who later released just under half an hour of the music on a CD Club release which bizarrely paired the score with Red Sonja. The 2016 Club release is of the full LP programme, for the first time on CD.
The score can be divided into roughly three different aspects. The first is the raft of cues based around the love theme, a typically lyrical Morricone melody (it’s like a song without words), often featuring piano, swooning strings and the voice of (presumably, though she’s not credited) Edda dell’Orso. It’s heard straight away in the main title and then many more times later on the album, perhaps most impressively in the gorgeous “Out of the Past”. It’s enough to melt the coldest of hearts.
Morricone alternates this with very dark, very gritty suspense music, indeed “Mountain Murder” which follows the lilting opening title without pause is a jolting, jarring experience. As ever it’s extremely effective, and actually perhaps one of those times that it’s so effective at creating tension it becomes a little bit unpleasant. Even when it’s doing that, it’s hard to be anything but astonished at the technique demonstrated, the mastery of the orchestra. There’s one standalone action cue, “Pills on Parade”, which is closer to the great Euro-thriller sound of scores like Le Professionnel, and I love it, though it was dropped from the film (Jeff Bond reports in the liner notes that it seemed to be completely at odds with the scene it was written to accompany, though I haven’t seen it). Late in the score, “No Accident!” is a terrific piece of action with a sound truly unique to the creative genius that is this composer, string ostinatos accompanied by electric guitar flourishes and an insane fluttering flute – it’s just sensational.
Finally there are some standalone lighter pieces. There’s a bit of Morricone disco, “Bobsled”, which is quite good fun, but not nearly as much as the light pop instrumental “An Almost Perfect Indiscretion”, a comic piece written for Sharif’s character. An absolutely lovely piece of source music comes later, “Dinner at Maxim’s” (it will forever be a mystery how Morricone has so often managed to make something so slight feel so full of feeling). There’s also the film version of “Pills on Parade” which was written not by Morricone but by Craig Huxley, he of blaster beam fame (though he’s credited on both the LP and this CD’s back cover as “Craig Hundley”) – and all I can say about it is avoid at all costs.
With a body of work as vast and as good as Morricone’s, it takes something a bit special to really stand out from the crowd and Bloodline isn’t that, but it’s got a strong main theme, some impressive if very challenging suspense music and a handful of great set pieces. If you have and enjoy the old CD release then it’s probably worth upgrading to get the extra music (which is essentially more of the same, but that’s no bad thing); if you’re a more casual Morricone fan then there are probably a hundred (or two, or three) others that I’d recommend first, but that’s not because there’s anything wrong with this, just a reflection of the extraordinary number of stellar works this remarkable man has given us over the past six (!) decades.
Label: Varèse Sarabande – STV 81131
Format: Vinyl, LP, Album
Genre: Electronic, Stage & Screen
Style: Soundtrack, Score
Phonographic Copyright (p) – Varèse Sarabande Records, Inc.
Produced For – Varèse Sarabande
Mixed At – Salty Dog Studios
Mastered At – The Reference Point
Art Direction – William Stout
Composed By, Conductor – Ennio Morricone
Engineer [Plating] – Richard Doss
Mastered By – Richard Simpson
Mixed By [Mixdown] – Carl Cicero
Producer – Chris Kuchler, Scot Holton, Steve Harris (12), Tom Null
<b>Sidney Sheldon's Bloodline</b>
Produced for Varese Sarabande.
Mixed at Salty Dog Studios.
Mastered at The Reference Point.
Plating at Sheffield Lab Matrix.
The KLH Research Dynamic Noise Filter Model DNF 1201A has been used to minimize background tape hiss.
Special thanks to Hunter Murtaugh, Paramount Music Department.
Track A4 not used in film
(P) Varese Sarabande Records, Inc.
01. Main Title (Love Theme)/ Mountain Murder
02. Corporate Maneuvers
03. Out of the Past
04. Pills on Parade (Original Version)
05. Bloodline Murder
06. Arrival at the Villa
08. Death Threat
09. Pills on Parade (Film Version)
10. An Almost Perfect Indiscretion
11. The Trip to Paris
12. Another Bloodline Murder
13. Dinner at Maxim's
15. Lights Out
16. No Accident!
17. Horrible Discovery
18. Resolution/ End Title