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Italian Soundtracks

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  • #6124

    Italian film music isn’t what it used to, but Pericle Odierna is a new, interesting voice. This work, from 2014, is relatively obscure (I had to upload the cover image myself!), but combines post-minimalist romanticism with some period tropes. I also recommend PICCIRIDDA from 2020, which should be easier to come by online.

    #6127
    Malte Müller
    Keymaster

    Never heard of him before, will check some things out. Being born 1965 not exactly “fresh new” seen from our age 🙂

    #6128

    True, but he was born right when the “classic” Italians were big.

    #6340

    I’ve now reached Piero Piccioni (1921-2004) in my collection walkthrough, and I realize that several of the Piccioni scores I own could have fit perfectly in other threads. BORA BORA (1968) goes in the erotica thread. Both LE MONACHE DI SANT’ARCANGELO (1973) and STORIA DI UNA MONACA DI CLAUSURA (1973) are nunsploitation films and could thus have been put BOTH in the erotica thread AND in the religious thread. But I’m “spending them” in this thread, because we need more discussion on Italian film music. Or Piccioni, for that matter. He should probably get his own thread at some point.

    Of the three I mentioned, LE MONACHE DI SANT’ARCANGELO is my favourite; in fact it’s my favourite Piccioni score with those gobsmackingly beautiful madrigals:

    #6342

    … nunsploitation films …

    Umm.. this is a thing?? As they say in Sweden: “Det finns mycket”.

    But the term itself creates some images in my head, so I think I get the idea. 😉

    #6343

    It is, yes. An amusing sub genre.

    #6345
    Sigbjørn
    Participant

    Sounds quite orthodox…

    #6346

    It’s also a genre that isn’t quite dead yet. Paul Verhoeven’s BENEDETTA (2021) falls into this genre, and it was my favourite film that year. Anne Dudley’s score was also my favourite of the year! Nunsploitation for the win!

    #6837

    I mentioned this earlier (in fact, I mentioned most of my Italian soundtracks earlier), but it’s really worth checking out if you like those broad, pastoral, romantic-orchestral affairs. Zeffirelli always managed to get that sound out of the composers he worked with – with Rota’s ROMEO & JULIET primary among them, perhaps. I only have three Ortolani soundtracks (FANTASMA D’AMORE, LA RIVINCITA DI NATALE and this), and would really love to get more recommendations, if you have any.

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