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Nino Rota - The Godfather

Жанр: Score
Год выпуска диска: 1972
Производитель диска: MCA Records, Inc.
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 31:35
Трэклист:
1. Main Title (The Godfather Waltz) (3:04)
2. I Have But One Heart (Al Martino) (2:57)
3. The Pickup (2:56)
4. Connie's Wedding (Carmine Coppola) (1:33)
5. The Halls Of Fear (2:12)
6. Sicilian Pastorale (3:01)
7. Love Theme From The Godfather 2:41)
8. The Godfather Waltz (3:38)
9. Appolonia (1:21)
10. The New Godfather (1:58)
11. The Baptism (1:49)
12. The Godfather Finale (3:50)
Источник Педро, с разрешения релизера, полный набор сканов имеется
THE GODFATHER By Vincent Canby
New York Times - March 16, 1972


Taking a best-selling novel of more drive than genius (Mario Puzo's The Godfather), about a subject of something less than common experience (the Mafia), involving an isolated portion of one very particular ethnic group (first-generation and second-generation Italian-Americans), Francis Ford Coppola has made one of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment.

The Godfather, which opened at five theaters here yesterday, is a superb Hollywood movie that was photographed mostly in New York (with locations in Las Vegas, Sicily, and Hollywood). It's the gangster melodrama come of age, truly sorrowful and truly exciting, without the false piety of the films that flourished forty years ago, scaring the delighted hell out of us while cautioning that crime doesn't (or, at least, shouldn't) pay.

It still doesn't, but the punishments suffered by the members of the Corleone Family aren't limited to sudden ambushes on street corners or to the more elaborately choreographed assassinations on thruways. They also include lifelong sentences of ostracism in terrible, bourgeois confinement, of money and power, but of not much more glory than can be obtained by the ability to purchase expensive bedroom suites, the kind that include everything from the rug on the floor to the pictures on the wall with, perhaps, a horrible satin bedspread thrown in.

Yet The Godfather is not quite that simple. It was Mr. Puzo's point, which has been made somehow more ambiguous and more interesting in the film, that the experience of the Corleone Family, as particular as it is, may be the mid-twentieth-century equivalent of the oil and lumber and railroad barons of nineteenth-century America. In the course of the ten years of intra-Mafia gang wars (1945-1955) dramatized by the film, the Corleones are, in fact, inching toward social and financial respectability.

For the Corleones, the land of opportunity is America the Ugly, in which almost everyone who is not Sicilian or, more narrowly, not a Corleone, is a potential enemy. Mr. Coppola captures this feeling of remoteness through the physical look of place and period, and through the narrative's point of view. The Godfather seems to take place entirely inside a huge, smoky, plastic dome, through which the Corleones see our real world only dimly.

Thus, at the crucial meeting of Mafia families, when the decision is made to take over the hard drug market, one old don argues in favor, saying he would keep the trade confined to blacks—"they are animals anyway."

This is all the more terrifying because, within their isolation, there is such a sense of love and honor, no matter how bizarre.

The film is affecting for many reasons, including the return of Marlon Brando, who has been away only in spirit, as Don Vito Corleone, the magnificent, shrewd old Corleone patriarch. It's not a large role, but he is the key to the film, and to the contributions of all of the other performers, so many actors that it is impossible to give everyone his due.

Some, however, must be cited, especially Al Pacino, as the college-educated son who takes over the family business and becomes, in the process, an actor worthy to have Brando as his father; as well as James Caan, Richard Castellano, Robert Duvall, Al Lettieri, Abe Vigoda, Gianni Russo, Al Martino, and Morgana King. Mr. Coppola has not denied the characters' Italian heritage (as can be gathered by a quick reading of the cast), and by emphasizing it, he has made a movie that transcends its immediate milieu and genre.

The Godfather plays havoc with the emotions as the sweet things of life—marriages, baptisms, family feasts—become an inextricable part of the background for explicitly depicted murders by shotgun, garrote, machine gun, and booby-trapped automobile. The film is about an empire run from a dark, suburban Tudor palace where people, in siege, eat out of cardboard containers while babies cry and get underfoot. It is also more than a little disturbing to realize that characters, who are so moving one minute, are likely, in the next scene, to be blowing out the brains of a competitor over a white tablecloth. It's nothing personal, just their way of doing business as usual.

THE GODFATHER (MOVIE)
Directed by Francis Ford Coppola; written by Mario Puzo and Mr. Coppola, based on the novel by Mr. Puzo; director of photography, Gordon Willis; edited by William Reynolds, Peter Zinner, Marc Laub, and Murray Solomon; music by Nino Rota; production designer, Dean Tavoularis; produced by Albert S. Ruddy; released by Paramount Pictures. Running time: 175 minutes.


..

(Nino Rota in 1972)

NINO ROTA Composer. Nationality: Italian. Born: Nini Rinaldi in Milan, 31 December 1911. Education: Attended St. Cecilia Academy, Rome, diploma, 1930; Curtis Institute, Philadelphia; also studied with Giacome Orefice and others. Career: Child prodigy: composer of oratorios, operas, incidental music for stage plays; 1933—first film score, for Treno popolare; 1937–38—taught at Liceo Musicale, Taranto; 1939—taught at Bari Conservatory, and director, 1950–78. Awards: British Academy Award for The Godfather, 1972; Academy Award for The Godfather, Part II, 1974. Died: In Rome, 10 April 1979.

Nino Rota is best known for his unique 28-year-long association with Federico Fellini and his popular and prolific musical work (he composed 143 scores) for film and television.

Almost all of the music used in Fellini's films from 1951 until 1979, were written or chosen by Rota. Simple, melodious, stanzaic, and, almost always, diatonic formulation characterizes the orchestration of many of his scores for Fellini. Due to Fellini's fragmentary style, Rota's compositions became the unifying force which gave continuity to Fellini's films. For Fellini, Rota never wrote a pure accompaniment to the action nor did his music only represent a few underlying emotional or dramatic moments. His music always contributed to the classification of the structure, of the characters, of the similarities between various situations, of the bond (often not explicit) between the facts and the action. It maintained an undisputed autonomy that paralleled the role and the value of the scenic action and narration. Fellini, because of his limited knowledge of music and because of his appreciation for Rota's talent, gave the composer creative control of the musical scores. To acquire a certain rhythm and to create a certain atmosphere for a scene, Fellini often filmed to Rota's music or to the music he had chosen. The director would simply suggest a sentiment or situation to Rota and Rota would spontaneously compose something which reflected and clarified the director's intent.

Rota, a child prodigy, was classically trained in composition and piano and composed his first oratorio, The Childhood of John the Baptist, at age 11. Toscanini and D'Annunzio admired his work and became his patrons. He studied under Ildebrano Pizzetti and Alfredo Cassela, and at the Milan Conservatory, the Academy of Santa Cecilia in Rome, and from 1930–32, the Curtis Institute in Philadelphia. There he studied composition under Rosaria Scalero. Through her, he became familiar with the historic development of various styles and musical forms. This knowledge later enabled Rota to write for almost any period or in any style of music and contributed to his success as a composer for film. While at the Curtis Institute, he met and became friends with Aaron Copland, who inspired Rota's interest in film. He warned Rota not to assume the prejudice and the snobbish attitude that music written for film was not to be taken seriously and was simply silly enjoyment. He also became familiar with American music and musicians like Cole Porter, Irving Berlin, and George Gershwin. Rota's citation, in Amarcord, of the song "Stormy Weather" reflects American music's influence on him.

In 1931 he composed his first film score for Treno popolare, directed by Raffaello Matarazzo. This was the only score he wrote in the 1930s. The film was a critical failure and Rota did not want to be associated with it. He feared his career in film was finished, and decided to establish himself as a "serious" composer. From 1934 until 1937, he wrote mainly chamber music and his college thesis, and he taught music in a high school in Taranto. In 1939, he began teaching composition at the Bari Conservatory.

During the 1940s and 1950s he was the principal composer for Lux Films and was often forced to collaborate on "shoddy" films; however, it was during this time that he began subtly combining leitmotif with symphonic structure to comment, in a melodious way, on characters and situations. He achieved fame as a composer for epoch films, and also gained recognition for his operas.

From 1951 until his death, his work with directors like Fellini, Franco Zeffirelli, Luchino Visconti, and Francis Ford Coppola brought him additional fame. Rota once said he felt it unfortunate that a film score was, usually, only a "secondary" element of a film, "subservient" to the visual images, "a mere tool, used to recall and give credence to the images and the emotions those images try to evoke."

Rota's critics often called him unoriginal, "a mimic" with a facility musically to reproduce a mood or ambience of a specific period. Many critics called him too melodious to be taken seriously. In reference to these criticisms, Rota responded: "Originality can not necessarily be found in a new syntax or new musical grammar. Actually, originality of music is in its substance, in the message it contains, not in its exterior form; that is, it must have canons of immediacy. If something is said to be melodic, who fears that it relates to a theme or a period in history? Simple melody brings up easy relationships, revelations, and derivations. It is a silly fear and anticultural. Every idea and inspiration has precise roots. Nothing comes from nothing."

In 1972 he was nominated for an Oscar for his score for The Godfather; however, someone unjustly accused him of plagiarism. He protested this accusation and the charges were dropped because the music from which the theme song had been derived was a song he had written in 1946. Then in 1974 he won an Oscar for The Godfather, Part II. Besides composing popular scores for film and television, he wrote four symphonies, eight operas, ballet scores, concertos, and other orchestral work.
— Suzanne Thomas
filmreference.com


..

Take a waltz, a peasant waltz. Add a plaintive trumpet, a trembling mandolin and a stifled bass. Throw in a pinch of Nino Rota's genius and you have a piece of the most intimidating music ever heard in the cinema...it has to be the "Godfather Waltz". A piece of music that sizzles with Sicilian sleaze no matter how many times you see the film. The famous three-four step snakes insinuatingly and hypnotically as a cobra, spitting as it lilts.
bbc.co.uk

..


 
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 7. July 2009, 1:51

Nino Rota / The Godfather

Used drive : TSSTcorpCDDVDW SH-S222A Adapter: 2 ID: 0

Read mode : SecureUtilize accurate stream : YesDefeat audio cache : YesMake use of C2 pointers : No

Read offset correction : 6Overread into Lead-In and Lead-Out : NoFill up missing offset samples with silence : YesDelete leading and trailing silent blocks : NoNull samples used in CRC calculations : YesUsed interface : Native Win32 interface for Win NT & 2000Gap handling : Appended to previous track

Used output format : User Defined EncoderSelected bitrate : 128 kBit/sQuality : HighAdd ID3 tag : NoCommand line compressor : C:\Program Files\FLAC\flac.exeAdditional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -8" %s

TOC of the extracted CD

Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.33 | 3:08.65 | 33 | 14197 2 | 3:09.23 | 3:00.22 | 14198 | 27719 3 | 6:09.45 | 2:59.55 | 27720 | 41199 4 | 9:09.25 | 1:36.53 | 41200 | 48452 5 | 10:46.03 | 2:15.30 | 48453 | 58607 6 | 13:01.33 | 3:04.55 | 58608 | 72462 7 | 16:06.13 | 2:41.35 | 72463 | 84572 8 | 18:47.48 | 3:38.37 | 84573 | 100959 9 | 22:26.10 | 1:25.05 | 100960 | 107339 10 | 23:51.15 | 2:03.00 | 107340 | 116564 11 | 25:54.15 | 1:54.03 | 116565 | 125117 12 | 27:48.18 | 3:50.55 | 125118 | 142422

Track 1

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Track 7

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Track 8

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Track 9

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Track 10

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Track 11

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Track 12

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All tracks accurately ripped

No errors occurred

End of status report


Трекер:  [ 07-Июл-2011 22:46 ]

  

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