Il Casanova di Federico Fellini
Nino Rota
" This music actually makes one realize just how refreshing composers can be, how much diversity there can be in their career. "Written by Joep de Bruijn
The collaborations between Federico Fellini and Nino Rota are very memorable. Rota wrote his best scores for Fellini's films, with often very moving and nostalgic music. On Amarcord, they held a brainstorm session. After many try-outs, Rota finally played a melody Fellini liked. He wanted to hear this melody repeatedly throughout the film. Amacord was to become the best score of Rota ever.
On Roma his music was full of nostalgia and surrealism of this touristic tour across Rome. Then followed the scores Casanova and Prova d'Orchestra, which was their last film together before Rota died on the 11th of April 1979. Fellini then teamed up with composer Luis Bacalov, whom Rota had introduced to the director on the set of Casanova.
Fellini trusted the deceased composer on his word and hired Bacalov for his next film called La Citta' Delle Donne. For his other projects, the directed worked with Gianfranco Plenizio (E la nave va (1983)) and Nicola Piovani (Ginger e Fred, La Voce della luna and Intervista, a tribute score to Rota).
The film deals with 18th century womaniser Casanova and his life. It includes mindblowing events, sets, costumes and many wonderfully conceived sexual outbursts. Rota's music underlines the sensuality and exoticism of the movie. The score isn't Rota's best, but undeniable his most fascinating experiment. Its main idea was to use arpeggio and minimalism in order to create a great musical world of surrealism. Instruments include the celestial, harpsichord, vibraphone and electric piano. I really love how those instruments jump back and forth. The music is in perfect relation to the visual game of Fellini.
Now, can the music survive outside the film? Yes, but I must admit I've never heard anything by the composer that wasn't a good listening experience. This music actually makes one realize just how refreshing composers can be, how much diversity there can be in their career. Some will find out how much this experimental music can work on their nerves, while others will find it fascinating.
Tracklisting
1. O Venezia, Venaga, Venusia (3.40)
2. L'Uccello Magico (2.07)
3. A Pranzo Dalla Marchesa Durfé (1.48)
4. The Great Mouna (1.59)
5. Canto Della Buranella (1.23)
6. L'Uccello Magico A Parigi (1.35)
7. "L'Intermezzo" Della Mantide Religiosa (3.40)
8. Pin Penin (3.04)
9. L'Uccello Magico A Dresda (1.24)
10. Ricordo di Henriette (2.01)
11. L'Uccello Magico A Roma (1.50)
12. Il Duca di Wurttenberg (4.24)
13. La Poupée Automate (1.47)
14. "L'Intermezzo" Della Mantide Religiosa (3.24)
15. Pin Penin (0.53)
16. "L'Intermezzo" Della Mantide Religiosa (2.25)
17. Il Duca Di Wurttenberg (2.45)
18. O Venezia, Venaga, Venusia (2.12)
19. La Poupée Automate (2.39)
Total Length: 45.00
On Roma his music was full of nostalgia and surrealism of this touristic tour across Rome. Then followed the scores Casanova and Prova d'Orchestra, which was their last film together before Rota died on the 11th of April 1979. Fellini then teamed up with composer Luis Bacalov, whom Rota had introduced to the director on the set of Casanova.
Fellini trusted the deceased composer on his word and hired Bacalov for his next film called La Citta' Delle Donne. For his other projects, the directed worked with Gianfranco Plenizio (E la nave va (1983)) and Nicola Piovani (Ginger e Fred, La Voce della luna and Intervista, a tribute score to Rota).
The film deals with 18th century womaniser Casanova and his life. It includes mindblowing events, sets, costumes and many wonderfully conceived sexual outbursts. Rota's music underlines the sensuality and exoticism of the movie. The score isn't Rota's best, but undeniable his most fascinating experiment. Its main idea was to use arpeggio and minimalism in order to create a great musical world of surrealism. Instruments include the celestial, harpsichord, vibraphone and electric piano. I really love how those instruments jump back and forth. The music is in perfect relation to the visual game of Fellini.
Now, can the music survive outside the film? Yes, but I must admit I've never heard anything by the composer that wasn't a good listening experience. This music actually makes one realize just how refreshing composers can be, how much diversity there can be in their career. Some will find out how much this experimental music can work on their nerves, while others will find it fascinating.
Tracklisting
1. O Venezia, Venaga, Venusia (3.40)
2. L'Uccello Magico (2.07)
3. A Pranzo Dalla Marchesa Durfé (1.48)
4. The Great Mouna (1.59)
5. Canto Della Buranella (1.23)
6. L'Uccello Magico A Parigi (1.35)
7. "L'Intermezzo" Della Mantide Religiosa (3.40)
8. Pin Penin (3.04)
9. L'Uccello Magico A Dresda (1.24)
10. Ricordo di Henriette (2.01)
11. L'Uccello Magico A Roma (1.50)
12. Il Duca di Wurttenberg (4.24)
13. La Poupée Automate (1.47)
14. "L'Intermezzo" Della Mantide Religiosa (3.24)
15. Pin Penin (0.53)
16. "L'Intermezzo" Della Mantide Religiosa (2.25)
17. Il Duca Di Wurttenberg (2.45)
18. O Venezia, Venaga, Venusia (2.12)
19. La Poupée Automate (2.39)
Total Length: 45.00