Chi L'Ha Vista Morire?
Ennio Morricone
" the children’s choir score "Written by Joep de Bruijn - Review of the regular release
Chi L'Ha Vista Morire? Is 1972 Giallo film directed by Aldo Lado, with whom Ennio Morricone worked together on a total of eight films, also including the brilliant music to L'Ultimo Treno della Notte.
The film is a Giallo about a man desperately trying to apprehend the killer of a young girl in Venice. On this premise, he wrote a score that is known as the children’s choir score, with performances of the Coro di Voci Bianche di Paolo Lucci on each of the cues. The conceptual approach of the maestro, the children’s choir sings an awful lot of repetitive lines, there is an expansion that outgrows it. Some pieces are traditionally sung with a sense of innocence, while others are more experimental and display a sense of being powerless, and lastly to display a sense of loss. In this, the precise conceptual lines of the choir are interrupted or enriched by strings, harpsichord, electric bass, and even the help of Edda Dell'Orso. As the score progresses, the innocence displayed in the opening cue quickly introduces time for reflection and frenzy choir performances. Generally, the music provides a strong comment on the psyche of the killer and the aftermath of his deeds.
To those who believe the myth, apparently the wife of Morricone is always the first to see what he has written, which I do not entirely believe. It remains unknown what kind of factual influence she had, but she did actually help out with substantial contributions; choosing the choir’s text on scores such I Promessi Sposi and Chi L'Ha Vista Morire?. Maria Travia provided the lyrics to some of the traditional pieces, of which some were sung in the Venetian language. The traditional pieces that are relatively more upbeat and allude to the theme of innocence, of childhood, are perhaps the least interesting, but in the overall concept it makes them very memorable.
In illustrating the sense of loss the catholic calmth of No Ghe' Piu' Bel Cantar Della Sera and El Primo Baso are the most notable pieces. The traditional No Ghe' Piu' Bel Cantar Della Sera is a heart-wrenching composition from the start, in which the choir is contrasted by harpsichord, only to segue into a touching solo violin and almost discreet electric bass. El Primo Baso provides another take, with an unexpected use of the great Edda Dell´Orso. The closing cue, Solo Grida, is a shivering combination of the frenzied, helpless, and echoed singing with a reflective role for the electric bass, fading in and out, interchanging, it's simply brilliantly interwoven.
The echoing, eerie voices and bass of Solo Grida are also featured in Canto della campana stonata and l girotondo dele note, which display the actual main theme of the score, used for the killer and its imposing danger. The idea of these specific voices originaly came from the 1971 Maddalena and can also be heard in 1975 Il Sorriso Del Grande Tentatore score.
Chi L'Ha Vista Morire? is more than a conceptual, monotone score. It is a distinctive body of work that, regardless of how you feel about the music and/or its use in the film, it is likely to be imprinted into your memory forever.
Tracklist
1. Chi L'Ha Vista Morire? (02:58)
2. No Ghe'Piu'Bel Cantar Della Sera (03:53)
3. La Bela Riposava (01:51)
4. Il Girotondo Delle Note (02:35)
5. La Mia Mama (01:40)
6. Il Gioco Delle Vocali (02:11)
7. Dindon Campanon (03:08)
8. El Primo Baso (03:42)
solo voice Edda Dell'Orso
9. Canto Della Campana Stonata (01:33)
10. Solo Grida (06:38)
Total Duration: 00:30:09
(written 06-07-2020, incidentally, published coinciding his death on the same date)
The film is a Giallo about a man desperately trying to apprehend the killer of a young girl in Venice. On this premise, he wrote a score that is known as the children’s choir score, with performances of the Coro di Voci Bianche di Paolo Lucci on each of the cues. The conceptual approach of the maestro, the children’s choir sings an awful lot of repetitive lines, there is an expansion that outgrows it. Some pieces are traditionally sung with a sense of innocence, while others are more experimental and display a sense of being powerless, and lastly to display a sense of loss. In this, the precise conceptual lines of the choir are interrupted or enriched by strings, harpsichord, electric bass, and even the help of Edda Dell'Orso. As the score progresses, the innocence displayed in the opening cue quickly introduces time for reflection and frenzy choir performances. Generally, the music provides a strong comment on the psyche of the killer and the aftermath of his deeds.
To those who believe the myth, apparently the wife of Morricone is always the first to see what he has written, which I do not entirely believe. It remains unknown what kind of factual influence she had, but she did actually help out with substantial contributions; choosing the choir’s text on scores such I Promessi Sposi and Chi L'Ha Vista Morire?. Maria Travia provided the lyrics to some of the traditional pieces, of which some were sung in the Venetian language. The traditional pieces that are relatively more upbeat and allude to the theme of innocence, of childhood, are perhaps the least interesting, but in the overall concept it makes them very memorable.
In illustrating the sense of loss the catholic calmth of No Ghe' Piu' Bel Cantar Della Sera and El Primo Baso are the most notable pieces. The traditional No Ghe' Piu' Bel Cantar Della Sera is a heart-wrenching composition from the start, in which the choir is contrasted by harpsichord, only to segue into a touching solo violin and almost discreet electric bass. El Primo Baso provides another take, with an unexpected use of the great Edda Dell´Orso. The closing cue, Solo Grida, is a shivering combination of the frenzied, helpless, and echoed singing with a reflective role for the electric bass, fading in and out, interchanging, it's simply brilliantly interwoven.
The echoing, eerie voices and bass of Solo Grida are also featured in Canto della campana stonata and l girotondo dele note, which display the actual main theme of the score, used for the killer and its imposing danger. The idea of these specific voices originaly came from the 1971 Maddalena and can also be heard in 1975 Il Sorriso Del Grande Tentatore score.
Chi L'Ha Vista Morire? is more than a conceptual, monotone score. It is a distinctive body of work that, regardless of how you feel about the music and/or its use in the film, it is likely to be imprinted into your memory forever.
Tracklist
1. Chi L'Ha Vista Morire? (02:58)
2. No Ghe'Piu'Bel Cantar Della Sera (03:53)
3. La Bela Riposava (01:51)
4. Il Girotondo Delle Note (02:35)
5. La Mia Mama (01:40)
6. Il Gioco Delle Vocali (02:11)
7. Dindon Campanon (03:08)
8. El Primo Baso (03:42)
solo voice Edda Dell'Orso
9. Canto Della Campana Stonata (01:33)
10. Solo Grida (06:38)
Total Duration: 00:30:09
(written 06-07-2020, incidentally, published coinciding his death on the same date)