Ennio Morricone: Discovery: Master of the Soundtrack

On presentation alone this would be a five star review. The book looks incredible. When you hold it there's a satisfying weight and just a casual flick through - the kind of browse when you first get it - reveals full colour pages with a great layout of LP and 45 covers. Fantastic. There are a selection of written pieces at the front of the book from John Carpenter, Quentin Tarantino and a number of others that are all interesting and set up a nice context. But I had to drop a star.There are a few issues that could be seen as being niggles but the devil is in the detail. I spotted one glaring error, the listing of Space 1999 as being released in 1973 when the simplest of checks on either the iMDb or other website would have found it's proper production date. There may be others in there that I might not have noticed. At the front of the book there is a key listed with symbols denoting TV movie, documentary, Oscar and BAFTA awards amongst others to indentify a score's particular attributes (curiously there is no symbol representing feature films, the author must assume that since the majority of Morricone's scores are for cinema that they don't need one). This is quite useful but they are only used at the beginning of each chapter in the discography and not in the main body of the book in conjunction with the images of the record sleeves. Except for major film awards when they are used in this way. Also, there is a key as listed as 'TV show' but has no corresponding image. To accompany some of the record illustration the author adds a capsule comment. Some are fine but most, perhaps in either the translation or the author's use of English, sound off kilter or contain unhelpful observations. For example take this one from Investigation of a Citizen Above Suspicion, "This film helped to revolutionize the canons of composing for the cinema....Morricone who was not new to experimentation, unleashed all his talent and fashioned it using devices from his abstract treasure trove of experience. The result was timeless music for different moods; even problem solving or trying to sooth one's nerves". There are a few things here, that final line is curious and quite subjective, but soothing is not a word I would have chosen for this score. However the comment, "this film helped to revolutionize the canons of composing for the cinema" surely belongs to earlier work, noticeably the scores for Sergio Leone's westerns.I'm such a Morricone fan that perhaps I was looking for perfection, so don't be put off by my caveats, this book belongs on your shelf if you love the Maestro.

An excellent book for all Morricone fans showing all his film work in glorious colour. Can be used to hunt down elusive titles. Very pleased.

Fabulous, a wonderful graphic journey through the Maestro's recordings.

Whilst Maurizio Baroni’s book on Maestro Ennio Morricone might not be the first to be released in 2019, it is certainly a serious contender as the most rewarding. Comparing Baroni’s book with the summer release of Alessandro De Rosa’s Ennio Morricone: In His Own Words, is arguably a little unfair. Both books are very different in terms of context. De Rosa’s book is a more methodical study of Morricone’s compositional style, his non-film music and other composers. In essence it is written more in a biographical style.However, Master of the Soundtrack is laid out in a very simplistic way and with the main focus (for the first time) centring on Morricone’s discography. Baroni’s book consists of two basic halves. The first half features a great deal of written articles and interviews from the likes of famous admirers, directors and critics. Among the contributors are; John Carpenter, Quentin Tarantino, Sir Christopher Frayling, Edda Dell’Orso, Dario Argento, John Boorman and a great deal more. Most of the written pieces have previously been published but nevertheless work perfectly when gathered together and set out among this single bound volume. Trying to track down various articles and interviews on Morricone is seldom an easy task, but Baroni is a fan first and foremost, and as a result, provided all of the practical legwork and strenuous digging on our behalf. From a fan’s perspective, all that is required is for us is to sit back, read and reap the rewards. The written articles make up for the first thirty or so pages and make the book very easy to navigate.The second phase of the book (pages 31-332) are split into decades and is a lavish compendium of Morricone’s catalogue of work. Each of the chapter’s opening pages introduces a complete year-by-year discography of Morricone’s film and television soundtrack releases along with their associated directors. It is here where you first begin to digest the sheer sense of enormity and proficiency in regards to the composer’s vast body of work. From here on, Baroni’s book shifts into top gear with page upon page of beautifully illustrated covers consisting of albums, EPs and 45s – all of which have been collated from various regions of the globe.All of the images are supported by captions providing either background information and/or fascinating related titbits. The editors have also refused to scrimp when it comes to reproducing these splendid images. There are no postage stamp sized illustrations here. Instead you will find half page images often with two more covers occupying the other half page. The illustrations have clearly not been hurried, the attention to detail is first rate and it is obvious that whoever was responsible for this task has taken the time to lovingly restore each and every record sleeve. It not only stands out, but also makes all the difference. It simply elevates this book into a whole new level of quality. Add to this the occasional full page of original sheet music or cue sheets and it pretty much confirms we are in the comforting realms of Morricone bliss.Ennio Morricone: Master of the Soundtrack is not a cheap book, but admirers of the Italian composer will simply love it, as would any serious collector of soundtrack music. One could argue that you are paying by the poundage when it comes to this heavyweight beast of a book. However, rest assured, upon its arrival, you may also find a counter argument – in that it’s actually worth every single ounce.Darren Allison, Soundtrack Editor, Cinema Retro magazine