ラヴァニーノは中規模オーケストラ向けに極めて内省的なスコアを書き上げた。その大半はヒロイン・ベアトリーチェ・チェンチの悲劇的運命への哀歌である。リュートやチェンバロといった当時の典型的な楽器の使用により、わずかにルネサンスの趣を帯びた美しく哀切な主題は、聴き手の注意を即座に捉え、作曲家の共感の所在を明らかにする。この楽譜の音楽的ハイライトは、間違いなく拷問の場面である。ラヴァニーノはここで、ベアトリーチェ・チェンチの旋律を最も大規模な交響的展開で描き、さらに悲しげな主題を絡ませている。高弦楽器とソロ・ヴィオラを特徴的に用いた手法がここでも発揮されている。一方、家長フランチェスコ・チェンチに関わる全ての音楽的シーケンスには、4音からなる不吉な陰鬱な低音モチーフが浸透しており、残酷な暴君が周囲の人々を辱めるように、あらゆるものを窒息させているかのようだ。さらにラヴァニーノは、悪魔的な舞踏を思わせる激しい追跡の音楽（On the Run）や、ランチャーニ枢機卿がチェンチ要塞に到着する場面のための祝祭的な金管音楽（The Cardinal Arrives）も書き上げている。
Alhambra Records proudly presents on this CD the world premiere release of Angelo Francesco Lavagnino’s complete original score for the 1969 historical drama BEATRICE CENCI which was directed by Lucio Fulci - who later on would reach cult status through his horror movies - and had an international cast with the American actress Adrienne La Russa as Beatrice Cenci, the Italian Tomas Milian as her servant and lover Olimpio and the French actor Georges Wilson as powerful and ruthless patriarch Francesco Cenci.
Beatrice Cenci (1577-1599) had been a member of a prominent and wealthy Roman family in the late 16th century known for her tragic life story that has captivated audiences through history. Her father Francesco Cenci was a cruel tyrant who was hated by everyone including his own family, especially Beatrice whom he placed in solitary confinement for deciding to become a nun. He was even rumoured to have repeatedly raped her. Due to this abusive treatment, Beatrice persuaded two servants to help her murder Francesco. This act resulted in a highly publicized trial in which Beatrice, her stepmother and her brother were sentenced to death, provoking widespread sympathy among the Roman populace.
In 1969 Fulci's picture was already the fourth film version of this famous story and in contrast to the previous adaptations he follows the historical events of Beatrice's life very closely, but uses a quite unconventional non-linear storyline. With the help of some stylish camera work, lush sets and costumes he quite convincingly evokes the harsh 16th century setting and mercilessly attacks the abuse of power as well as the corruption of the Catholic Church.
As the singer-songwriter and actor Silvano Spadaccino also received an official credit as co-composer in the film's main title, till now there has always been some confusion as to who wrote what for this movie. However, Spadaccino and his folk group I Cantastorie were only responsible for the a cappella consolation chants - based on Italian folk songs of the medieval period - which are heard during the film's prison scenes and for a few tavern songs. Nothing of this music can be heard on our CD as the tapes which we have had at our disposal contain only Lavagnino's own music. It consists of all the instrumental tracks in the film and of two religious a cappella choir cues (In the Garden/The Pope`s Room).
Lavagnino has written a rather intimate score for a medium-sized orchestra which for the most part is an elegy for the tragic fate of the heroine Beatrice Cenci. The beautiful plaintive main theme with its slight Renaissance flavour - due to the use of typical instruments of the period like lute and harpsichord - immediately grabs the attention of the listener and makes it clear where the sympathies of the composer lie. The musical highlight of the score certainly are the torture scenes for which Lavagnino reserved his most extensive symphonic elaboration of the Beatrice Cenci tune interweaved with an even sadder theme with his characteristic use of the high strings and the solo viola. On the other hand, all the musical sequences involving the patriarch Francesco Cenci are infused with a doom-laden brooding bass motif of four notes which seems to suffocate everything just as the cruel tyrant humiliates everyone around him. Besides, Lavagnino has written an agitated musical hunt which resembleses a devilish dance (On the Run) and some festive brass music for the arrival of the Cardinal Lanciani at the Cenci fortress (The Cardinal Arrives).
This wonderful CD project - the 18th CD in our Lavagnino series - has only been possible thanks to the generous support of the three daughters of the composer - Bianca, Iudica and Alessandra Lavagnino -, who still had open reel tape copies of the original master tapes in their personal archive which we were allowed to use. Our CD edition which contains a 16-page booklet with extensive liner notes and numerous colour stills from the two movies is limited to 400 copies.
トラックリスト
01. Main Theme 0:40 02. Return to Rocca di Petrella 2:01 03. Secret Meeting 2:24 04. The Cardinal Arrives 1:02 05. The Discovery 0:56 06. On the Run 2:25 07. Beatrice and Olimpio (Love Scene) 2:07 08. Preparations for the Murder ? The Murder 5:02 09. The Confrontation 2:25 10. Beatrice Is Led Away 1:43 11. Beatrice Gets Tortured ? The Confession 3:54 12. The Black Dress 1:54 13. The Pope´s Room 1:09 14. Finale ? End Cast 1:41
Bonus Tracks: 15. In the Garden (Choir Rehearsal) 1:10 16. Secret Meeting (Alternate Track) 2:25 17. Beatrice and Olimpio (Alternate Track) 1:52
ルチオ・フルチ監督が自らの最高傑作とする1969年の残酷史劇『ベアトリーチェ・チェンチ』のオリジナル・サウンドトラック全曲が世界初リリース！音楽はアンジェロ・フランチェスコ・ラヴァニーノ。
トラックリストベアトリーチェ・チェンチ役にはアメリカの女優アドリアン・ラ・ルッサ、 彼女の使用人であり恋人であるオリンピオ役をイタリアのトマス・ミリアン、権力者であり冷酷な家長フランチェスコ・チェンチ役をフランスの俳優ジョルジュ・ウィルソンが演じています。
ベアトリーチェ・チェンチ（1577-1599）は、16世紀後半、ローマの名門富裕層の一員でしたが、その悲劇的な人生は、歴史を通じて観客を魅了してきました。彼女の父親フランチェスコ・チェンチは、家族、特に修道女になることを決めたベアトリスを独房に閉じ込めたことで、家族を含むすべての人から嫌われる残酷な暴君でした。彼は彼女を繰り返しレイプしていたという噂さえありました。この虐待的な扱いにより、ベアトリスは 2 人の使用人にフランチェスコを殺害する手助けを説得しました。この行為は、ベアトリス、彼女の継母、そして彼女の兄弟が死刑を宣告されるという、広く報じられた裁判につながり、ローマ市民の間に広範な同情を引き起こしました。
1969年、フルチの作品はすでにこの有名な物語の4作目の映画化であり、これまでの翻案作品とは対照的に、彼はベアトリーチェの生涯における歴史的事実を非常に忠実に追っているが、かなり型破りな非線形のストーリー展開を用いている。スタイリッシュなカメラワーク、豪華なセットと衣装の助けを借りて、彼は16世紀の過酷な時代背景を非常に説得力を持って再現し、権力の乱用やカトリック教会の腐敗を容赦なく攻撃している。
シンガーソングライター兼俳優のシルヴァーノ・スパダッチーノも、映画のメインタイトルで共同作曲者として公式にクレジットされているため、これまでこの映画で誰が何を書いたかについては常に混乱があった。しかし、スパダッチーノと彼のフォークグループ「カンタストーリエ」が担当したのは、中世イタリアの民謡を基にしたアカペラの慰めの詠唱（映画の牢獄シーンで流れる）と、数曲の酒場の歌のみであった。当CDにはこれらの楽曲は一切収録されていない。我々が入手したテープにはラヴァニーノ自身の楽曲のみが含まれており、それは映画内の全器楽トラックと、2つの宗教的アカペラ合唱曲（『庭園にて』／『教皇の部屋』）で構成されている。
ラヴァニーノは中規模オーケストラ向けに極めて内省的なスコアを書き上げた。その大半はヒロイン・ベアトリーチェ・チェンチの悲劇的運命への哀歌である。リュートやチェンバロといった当時の典型的な楽器の使用により、わずかにルネサンスの趣を帯びた美しく哀切な主題は、聴き手の注意を即座に捉え、作曲家の共感の所在を明らかにする。この楽譜の音楽的ハイライトは、間違いなく拷問の場面である。ラヴァニーノはここで、ベアトリーチェ・チェンチの旋律を最も大規模な交響的展開で描き、さらに悲しげな主題を絡ませている。高弦楽器とソロ・ヴィオラを特徴的に用いた手法がここでも発揮されている。一方、家長フランチェスコ・チェンチに関わる全ての音楽的シーケンスには、4音からなる不吉な陰鬱な低音モチーフが浸透しており、残酷な暴君が周囲の人々を辱めるように、あらゆるものを窒息させているかのようだ。さらにラヴァニーノは、悪魔的な舞踏を思わせる激しい追跡の音楽（On the Run）や、ランチャーニ枢機卿がチェンチ要塞に到着する場面のための祝祭的な金管音楽（The Cardinal Arrives）も書き上げている。
この素晴らしいCDプロジェクト、ラヴァニーノ・シリーズ第18弾は、作曲家の三人の娘たち??ビアンカ、ユディカ、アレッサンドラ・ラヴァニーノ??の寛大な支援によってのみ実現しました。彼女たちは個人アーカイブにオリジナル・マスターテープのオープンリールテープのコピーを保管しており、私たちが使用することを許可してくれたのです。当CD版には、詳細なライナーノーツと2本の映画からの多数のカラー静止画を収録した16ページのブックレットが付属し、400枚限定で発売されます。
--- レーベルより。
Alhambra Records proudly presents on this CD the world premiere release of Angelo Francesco Lavagnino’s complete original score for the 1969 historical drama BEATRICE CENCI which was directed by Lucio Fulci - who later on would reach cult status through his horror movies - and had an international cast with the American actress Adrienne La Russa as Beatrice Cenci, the Italian Tomas Milian as her servant and lover Olimpio and the French actor Georges Wilson as powerful and ruthless patriarch Francesco Cenci.
Beatrice Cenci (1577-1599) had been a member of a prominent and wealthy Roman family in the late 16th century known for her tragic life story that has captivated audiences through history. Her father Francesco Cenci was a cruel tyrant who was hated by everyone including his own family, especially Beatrice whom he placed in solitary confinement for deciding to become a nun. He was even rumoured to have repeatedly raped her. Due to this abusive treatment, Beatrice persuaded two servants to help her murder Francesco. This act resulted in a highly publicized trial in which Beatrice, her stepmother and her brother were sentenced to death, provoking widespread sympathy among the Roman populace.
In 1969 Fulci's picture was already the fourth film version of this famous story and in contrast to the previous adaptations he follows the historical events of Beatrice's life very closely, but uses a quite unconventional non-linear storyline. With the help of some stylish camera work, lush sets and costumes he quite convincingly evokes the harsh 16th century setting and mercilessly attacks the abuse of power as well as the corruption of the Catholic Church.
As the singer-songwriter and actor Silvano Spadaccino also received an official credit as co-composer in the film's main title, till now there has always been some confusion as to who wrote what for this movie. However, Spadaccino and his folk group I Cantastorie were only responsible for the a cappella consolation chants - based on Italian folk songs of the medieval period - which are heard during the film's prison scenes and for a few tavern songs. Nothing of this music can be heard on our CD as the tapes which we have had at our disposal contain only Lavagnino's own music. It consists of all the instrumental tracks in the film and of two religious a cappella choir cues (In the Garden/The Pope`s Room).
Lavagnino has written a rather intimate score for a medium-sized orchestra which for the most part is an elegy for the tragic fate of the heroine Beatrice Cenci. The beautiful plaintive main theme with its slight Renaissance flavour - due to the use of typical instruments of the period like lute and harpsichord - immediately grabs the attention of the listener and makes it clear where the sympathies of the composer lie. The musical highlight of the score certainly are the torture scenes for which Lavagnino reserved his most extensive symphonic elaboration of the Beatrice Cenci tune interweaved with an even sadder theme with his characteristic use of the high strings and the solo viola. On the other hand, all the musical sequences involving the patriarch Francesco Cenci are infused with a doom-laden brooding bass motif of four notes which seems to suffocate everything just as the cruel tyrant humiliates everyone around him. Besides, Lavagnino has written an agitated musical hunt which resembleses a devilish dance (On the Run) and some festive brass music for the arrival of the Cardinal Lanciani at the Cenci fortress (The Cardinal Arrives).
This wonderful CD project - the 18th CD in our Lavagnino series - has only been possible thanks to the generous support of the three daughters of the composer - Bianca, Iudica and Alessandra Lavagnino -, who still had open reel tape copies of the original master tapes in their personal archive which we were allowed to use. Our CD edition which contains a 16-page booklet with extensive liner notes and numerous colour stills from the two movies is limited to 400 copies.
01. Main Theme 0:40
02. Return to Rocca di Petrella 2:01
03. Secret Meeting 2:24
04. The Cardinal Arrives 1:02
05. The Discovery 0:56
06. On the Run 2:25
07. Beatrice and Olimpio (Love Scene) 2:07
08. Preparations for the Murder ? The Murder 5:02
09. The Confrontation 2:25
10. Beatrice Is Led Away 1:43
11. Beatrice Gets Tortured ? The Confession 3:54
12. The Black Dress 1:54
13. The Pope´s Room 1:09
14. Finale ? End Cast 1:41
Bonus Tracks:
15. In the Garden (Choir Rehearsal) 1:10
16. Secret Meeting (Alternate Track) 2:25
17. Beatrice and Olimpio (Alternate Track) 1:52