Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

PANews_P-d3a3c0fc-2584-4a8e-af71-63547df49ba3_I1

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.

The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

The presence of Tarantino who is known by films like The Pulp Fiction and Kill Bill which are characterized by his “nonlinear storylines, satirical subject matter, and his personal aestheticization of violence“. Morricone, as a multi-style composer whose styles have made him one of the most versatile, experimental and influential composers of all time, made this collaboration so attractive.

Tarantino starts working on civil war events of America from his movie “Django Unchained” and The Hateful Eight is his second film on the wild west era and maybe Tarantino chose Morricone as the film composer, because of his wide experience on Spaghetti-western movies.

A composer like Morricone, could rest on his “laurels, and compose scores with those everyday sounds he was first known for“. However, he decided to write a different music in a different style and with different voices. “I’m continuously thinking about music, continuously researching and attentive. I cannot just remain still,” he says. “I don’t want to remain conservative; I want to go ahead and look at the future.”
So that the orchestration of the overture part of the film is so innovative. Morricone combines the real voices of an orchestra with some new electronic techniques as he says, “Quentin Tarantino and his film really deserve a music of their own.”
To create that original score for Tarantino, Morricone largely turns to tools unavailable in 1964, like synthesizers, which drive the tense, gloomy eight-minute overture. (Morricone’s compositions for The Thing, used in The Hateful Eight, were some of his first work with synths in the early 1980s).
The experimenting composer isn’t above technological advances, but he’s quick to warn young composers of the dangers of seductive technology. “Electronic instruments have to be used to justify something that doesn’t exist, not to replace for instance an orchestra,” he says. “If you use the synth just to recreate the sound of an existing musical instrument, it is wrong. But if you use the synth to create a sound that doesn’t exist, that’s a very wise way to use it.”

In this movie, there are lots of scenes in which Morricone has created the feeling of humor among the horrible violent scenes of the movie. One of the best examples or maybe the most memorable part of the movie is the Lincoln’s letter scene in which we observe lots of murders and a flood of blood everywhere, also we know the characters depth of crime, and while the character reading the Lincoln’s letter that is about beauty and glory of patriotism and duty, Morricone wisely match this scene whit a glorious fanfare music in the background that just make us feel funny about the meaning of patriotism and glory.
The director, Tarantino had reused Morricone’s music in several of his other films: Django Unchained, IngloriousBastards, and Kill Bill. But for The Hateful Eight, he knew he wanted an original soundtrack for the first time.
“This material deserved an original score,” explained Tarantino in an interview with Christopher Nolan. “I’ve never thought that way before. I didn’t ever want to trust a composer with the soul of my movie.” But he decided he could trust the man whom he describes as his favorite composer in history.
Morricone urges his listeners to hear The Hateful Eight score apart from his previous work—especially from the enduring legacy of his spaghetti Westerns. “Forget the work that I’ve done in the past for the Italian Western or for the Sergio Leone movies,” he says.

The other attractive point of the film’s music is the songs that Morricone and Tarantino had chosen for the movie. Especially the song “Jim Jones at Botany” Bay that Jennifer Jason Leigh sings with a guitar, is the traditional Australian folk ballad , which dates from the early 19th-century.

The soundtrack of the movie won a Golden Globe and Academy Award for Best Original Score on 28 February 2016.
The opening track, “L’ultima diligenza di Red Rock” (Versione Integrale), was released as a single online on December 15, 2015. In December 2016, it gained a nomination for a Grammy Award for Best Instrumental Composition for Mr. Morricone.

 

 

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Developments in Iranian Music Since Qajar Era

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.

Harmony in the Iranian Music (II)

One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.

From Past Days…

ACIMC-logo

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

shahin-mohajeri-190

Non-profit “Microtona” Project Released

Microtona is a sixty-eight-page Booklet with personal comments by the contributing microtonal artists. The booklet also includes a DVD which consists of 8 original video tracks and 9 original audio tracks. The project is an international one featuring unpublished pieces by composers from Iran, Japan, U.S., France, Austria, Germany and Belgium.

photo_2017-09-02_12-25-39

Musical Sense or Technique?

One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.

harmonytalk-auteur

HarmonyTalk Celebrates 11th Anniversary

April 6 marks the anniversary of launching HarmonyTalk.com. Back in 2004, HarmonyTalk was rather a blog dedicated to music. Gradually, however, it found its way to becoming a more sophisticated journal with an intensive but not exclusive concentration on classical music.

logo-jashnvareie-paigah-haie-mousighi-dar-internet

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

nu2

New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

mehrdad-mahdavi

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.

alexander-rahbari-ali

Ali Rahbari & Recording Iranian Symphonic Compositions

In the few days prior to the New Iranian year (March 2015), the news of the revival of Tehran Symphony Orchestra under Ali (Alexander) Rahbari’s conductorship was announced. Ali Rahbari, who served as assistant to Herbert von Karajan in Berlin Philharmonic Orchestra at a very young age, was also invited to conduct Tehran Symphony Orchestra in 2005; however, the election of Mahmoud Ahmadinejad’s government put an end to his collaboration with this Orchestra. Recently, it was announced that Rahbari is invited to conduct an orchestra in the U.S.

peyman-e-eshgh

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.

malihe-saeedi-saidi-sadidy-190-1312052365

Qanun, a feminized instrument?

In the world music culture, there are instruments which were traditionally associated with a certain gender. It remains disputable to what extent these gender-based perceptions have been logical and scientific. For example, as playing wind instruments need more breath strength and the public opinion believe that men have stronger breath compared to women, these instruments are predominantly a male domain. Harp is also considered a female instrument as the public opinion believe that women have finer fingers and can therefore better perform nuances and delicate techniques on the instrument.