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Alessandro Cicognini

Alessandro Cicognini was, for twenty years after Globe Battle II, the solitary most influential tone of voice in film music in Italy, as the author of choice for Italy’s most successful postwar filmmaker, Vittorio De Sica. Qualified as a traditional musician and composer at Milan’s Conservatory of Music, he found film music in 1936, in the fact that films had supplanted theatre and melodrama mainly because popular entertainment. He previously proved helpful in Italian movie theater for a decade, with such directors as Augusto Genina and Alessandro Blasetti, before he fulfilled De Sica in 1946, as the last mentioned was focusing on the to begin his traditional neo-realist film, Shoeshine. Cicognini supplied De Sica using a rating that were able to few dark string passages with fragments of well-known music, which captured the disposition of despair encircling Roman teenagers stuck in poverty and delinquency. His following rating, The Bike Thief (1948), which gained an prize as Greatest Soundtrack of the entire year, shown a lyricism similar to Puccini’s greatest operas. Much like all film composers, Cicognini was, to some extent, susceptible to the grade of the movies he scored, however in his case that had not been a issue, nor was there any component of “mercy” included. Certainly, he became one of the most well-known Italian author of film music in the globe beyond Italy, as his music, mounted on one De Sica masterpiece after another for greater than a 10 years, was noticed by audiences all around the globe. This publicity allowed him to go relatively quickly into worldwide film work through the middle-1950s — Cicognini had written the music for the outfit experience Ulysses (1955), starring Kirk Douglas, and in addition for the intimate humor Summertime (1955), starring Katharine Hepburn and Rossano Brazzi, and in 1962 he obtained the Hollywood-produced humor The Pigeon That Took Rome. But De Sica continued to be for almost 20 years the foundation of a few of his greatest inspirations. Composer and movie director were of 1 mind on the very best of the, and, specifically, the wry wit that up to date one’s images as well as the other’s noises. An example is the soft waltz which makes up a lot of Umberto D (1952), a tragic however engrossing tale about a vintage man who does not have any place else still left to look, and eventually comes within occasions of eliminating his one devoted partner — his pet dog — in despair. A lot of Cicognini’s music for movies is seen as a the usage of little ensembles, in sharpened contrast to complete orchestral scoring, uncommon instruments, as well as the blending of musical styles. His capability to catch differing moods was place to good make use of with the filmmaker in Silver Of Naples (1954), an anthology of four funny yet serious tales, that your composer translated into a few of the most interesting music of his profession. His music going back Judgment (1961) is certainly a few of the most inventive of his profession, alternating between epic passages, mild lyricism, and waltz. Cicognini’s masterpiece, nevertheless, is the rating he published for De Sica’s Wonder In Milan (1951), among the sweetest, saddest films available, a dream built round the plight of displaced individuals surviving in dire poverty — the music catches the mixture of joyous, impassioned dream as well as the undercurrent of bitter despair behind it aswell as any shot in the film, its chorus (which came into the Italian well-known music vernacular) a biting and haunting distillation from the movie’s message. Cicognini quit film structure in 1965 and only a profession in teaching. By that point, younger composers such as for example Mario Nascimbene as well as the latter’s one-time associate, Ennio Morricone, had been dominating the film music of Italy, incorporating even more direct Hollywood affects. He never maintained the created ratings of his film function, but scholar Giorgio Spacca offers carried out the reconstruction of his greatest function for the movie theater in usable executing editions, and conductor Nicola Samale provides obliged by documenting a lot of it commercially in the 1990s.

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