The soundtrack of Fellini Satyricon, composed by Nino Rota, is a musical journey that accompanies and amplifies the disorienting, dreamlike, and fragmented experience of the eponymous film by Federico Fellini (1969), loosely inspired by the unfinished novel by Petronius Arbiter.
Fellini Satyricon is not a linear narrative, but a series of visions that flow like a hallucinatory dream set in ancient Rome. There is no historical or documentary intent: Fellini stages a sensual, decadent, symbolic world, populated by deformed creatures, pagan rituals, and unrestrained desires. The story, which revolves around Encolpius, Giton, and Ascyltus, is deliberately broken, incomplete, and suspended?just like the text it draws from. The film challenges the viewer, disorients them, and drags them into an archaic time that resembles the unconscious more than the historical past.
In this context, Nino Rota's music does not serve as a mere commentary, but becomes an integral part of the visual narrative. Rota abandons classical melody and constructs an archaic and abstract soundscape, made up of atonal instruments, tribal percussion, dissonant choirs, and unclassifiable sounds.
Rather than directly quoting music from ancient Rome (for which no reliable sonic sources exist), Rota imagines an ancient, primitive, mysterious sound. The result is something profoundly original: a ritualistic hybrid between fantastical ethnomusicology and the theatre of the absurd. The music thus becomes an alien voice, embodying the other, the ancient, the uncanny.
Rota alternates unsettling moments with hypnotic and solemn passages. The music oscillates between the sacred and the profane, the playful and the terrifying?just like the film. The use of silence and natural sounds (breathing, chanting, rustling) heightens the sense of suspension. There are no easily memorable themes: the soundtrack lives more in its sonic matter than in melody.
Fellini Satyricon is a work that rejects every narrative and aesthetic convention, and Nino Rota’s music is its perfect reflection: experimental, disturbing, evocative, and uncompromising. It is one of the composer’s boldest works, far removed from the lightness that often characterizes his more famous scores (such as those for La Dolce Vita or Amarcord).
In summary, the soundtrack of Fellini Satyricon is an avant-garde masterpiece, capable of evoking a world that never existed, but that?thanks to Fellini and Rota?continues to live in the cinematic imagination as an ancient dreamlike vision. Now available on transparent red vinyl / 180 grams + CD, limited numbered edition of 500 copies. Includes an insert with liner notes by Massimo Privitera of colonnesonore.net.
トラックリスト
Side A A01 - TEATRINO DI VERNACCHIO (Vernacchio's Small Theater) A02 - IL GIARDINO DELLE DELIZIE (Garden of Delights) A03 - NOTTURNI NELLA SUBURRA (Nocturnes in the "Suburra") A04 - LA SCHIAVETTA INNAMORATA (The Little Slave Girl in Love) A05 - LA CENA DA TRIMALCIONE (Trimalcione's Dinner Pt. 1) A06 - MADEJA-PERIMADEJA A07 - MIO AMATO GITONE (My Beloved Giton) A08 - LA CENA DA TRIMALCIONE (Trimalcione's Dinner Pt. 2) A09 - TEMA DI GITONE (Giton's Theme) A10 - IL TRIONFO DEL NUOVO CESARE (New Caesar's Triumph)
Side B B01 - ENCOLPIO E ASCILTO PRIGIONIERI (Encolpio and Ascilto, Prisoners) B02 - SULLA NAVE DI LICA (On Lica's Boat) B03 - LE NOZZE SUL MARE (Wedding At Sea) B04 - IL FUOCO DELLE VESTALI (Vestal's Fre) B05 - L'ORACOLO SALMODIANTE (The Psalmodist Oracle) B06 - MI ASCOLTI GITONE? (Do You Listen to Me Giton?) B07 - STORIA DELLA MATRONA DI EFESO (Story of Ephesus Matron) B08 - ENCOLPIO HA PERDUTO LA SUA SPADA (Encolpio Lost Is Sword) B09 - IL MINOTAURO (The Minotaur) B10 - LA NUOVA ISOLA (The New Island)
ニーノ・ロータ作曲の『サテリコン』のサウンドトラックは、フェデリコ・フェリーニ監督の同名映画（1969年）の、方向感覚を失わせるような、夢想的で断片的な体験に寄り添い、その体験を増幅させる音楽の旅です。この作品は、ペトロニウス・アルビテルの未完の小説に漠然と着想を得ています。
トラックリスト『サテリコン』は直線的な物語ではなく、古代ローマを舞台にした幻覚的な夢のように流れる一連のヴィジョンです。歴史的、あるいはドキュメンタリー的な意図は一切ありません。フェリーニは、奇形の生き物、異教の儀式、抑えきれない欲望に満ちた、官能的で退廃的、そして象徴的な世界を描き出しています。エンコルピウス、ギトン、そしてアスキルトスを中心に展開する物語は、原作のテキストと同様に、意図的に途切れ、不完全で、宙ぶらりんの状態になっています。この映画は観客を挑発し、方向感覚を失わせ、歴史的過去というよりも無意識に近い、古き良き時代へと引きずり込む。
この文脈において、ニーノ・ロータの音楽は単なる解説ではなく、視覚的な物語の不可欠な一部となる。ロータは古典的な旋律を放棄し、無調楽器、部族的打楽器、不協和音の合唱、そして分類不能な音で構成される、古き良き抽象的なサウンドスケープを構築する。
信頼できる音源が存在しない古代ローマの音楽を直接引用するのではなく、ロータは古代の、原始的で、神秘的な音を想像する。その結果、非常に独創的なものが生まれた。幻想的な民族音楽学と不条理演劇が融合した儀式的な融合である。こうして音楽は異質な声となり、他者、古代、不気味なものを体現する。
ロータは、不安を掻き立てる瞬間と催眠的で荘厳なパッセージを交互に織り交ぜる。音楽は、映画と同じように、神聖なものと俗なもの、遊び心と恐怖感の間を揺れ動きます。静寂と自然の音（呼吸、詠唱、ざわめき）の使用が、没入感を高めています。容易に記憶に残るテーマはなく、サウンドトラックはメロディーよりも音そのものに生きています。
フェリーニ作『サテリコン』は、あらゆる物語や美的慣習を拒絶する作品であり、ニーノ・ロータの音楽はその完璧な反映です。実験的で、不穏で、感情を揺さぶり、そして妥協を許さない。この作品は、作曲家による最も大胆な作品の一つであり、『甘い生活』や『アマルコルド』といった彼の有名な音楽にしばしば見られる軽薄さとはかけ離れています。
フェリーニ監督作品『サテリコン』のサウンドトラックは、前衛的な傑作と言えるでしょう。かつて存在しなかった世界を想起させる力を持つこのサウンドトラックは、フェリーニとロータ監督のおかげで、古代の夢のようなヴィジョンとして、今もなお映画界の想像力の中で生き続けています。
透明レッド・ビニール盤（180グラム重量盤＋CD）、500枚限定ナンバリング・エディションで発売中。colonnesonore.netのマッシモ・プリヴィテラによるライナーノーツを収録したインサート付き。
The soundtrack of Fellini Satyricon, composed by Nino Rota, is a musical journey that accompanies and amplifies the disorienting, dreamlike, and fragmented experience of the eponymous film by Federico Fellini (1969), loosely inspired by the unfinished novel by Petronius Arbiter.
Fellini Satyricon is not a linear narrative, but a series of visions that flow like a hallucinatory dream set in ancient Rome. There is no historical or documentary intent: Fellini stages a sensual, decadent, symbolic world, populated by deformed creatures, pagan rituals, and unrestrained desires. The story, which revolves around Encolpius, Giton, and Ascyltus, is deliberately broken, incomplete, and suspended?just like the text it draws from. The film challenges the viewer, disorients them, and drags them into an archaic time that resembles the unconscious more than the historical past.
In this context, Nino Rota's music does not serve as a mere commentary, but becomes an integral part of the visual narrative. Rota abandons classical melody and constructs an archaic and abstract soundscape, made up of atonal instruments, tribal percussion, dissonant choirs, and unclassifiable sounds.
Rather than directly quoting music from ancient Rome (for which no reliable sonic sources exist), Rota imagines an ancient, primitive, mysterious sound. The result is something profoundly original: a ritualistic hybrid between fantastical ethnomusicology and the theatre of the absurd. The music thus becomes an alien voice, embodying the other, the ancient, the uncanny.
Rota alternates unsettling moments with hypnotic and solemn passages. The music oscillates between the sacred and the profane, the playful and the terrifying?just like the film. The use of silence and natural sounds (breathing, chanting, rustling) heightens the sense of suspension. There are no easily memorable themes: the soundtrack lives more in its sonic matter than in melody.
Fellini Satyricon is a work that rejects every narrative and aesthetic convention, and Nino Rota’s music is its perfect reflection: experimental, disturbing, evocative, and uncompromising. It is one of the composer’s boldest works, far removed from the lightness that often characterizes his more famous scores (such as those for La Dolce Vita or Amarcord).
In summary, the soundtrack of Fellini Satyricon is an avant-garde masterpiece, capable of evoking a world that never existed, but that?thanks to Fellini and Rota?continues to live in the cinematic imagination as an ancient dreamlike vision.
Now available on transparent red vinyl / 180 grams + CD, limited numbered edition of 500 copies. Includes an insert with liner notes by Massimo Privitera of colonnesonore.net.
Side A
A01 - TEATRINO DI VERNACCHIO (Vernacchio's Small Theater)
A02 - IL GIARDINO DELLE DELIZIE (Garden of Delights)
A03 - NOTTURNI NELLA SUBURRA (Nocturnes in the "Suburra")
A04 - LA SCHIAVETTA INNAMORATA (The Little Slave Girl in Love)
A05 - LA CENA DA TRIMALCIONE (Trimalcione's Dinner Pt. 1)
A06 - MADEJA-PERIMADEJA
A07 - MIO AMATO GITONE (My Beloved Giton)
A08 - LA CENA DA TRIMALCIONE (Trimalcione's Dinner Pt. 2)
A09 - TEMA DI GITONE (Giton's Theme)
A10 - IL TRIONFO DEL NUOVO CESARE (New Caesar's Triumph)
Side B
B01 - ENCOLPIO E ASCILTO PRIGIONIERI (Encolpio and Ascilto, Prisoners)
B02 - SULLA NAVE DI LICA (On Lica's Boat)
B03 - LE NOZZE SUL MARE (Wedding At Sea)
B04 - IL FUOCO DELLE VESTALI (Vestal's Fre)
B05 - L'ORACOLO SALMODIANTE (The Psalmodist Oracle)
B06 - MI ASCOLTI GITONE? (Do You Listen to Me Giton?)
B07 - STORIA DELLA MATRONA DI EFESO (Story of Ephesus Matron)
B08 - ENCOLPIO HA PERDUTO LA SUA SPADA (Encolpio Lost Is Sword)
B09 - IL MINOTAURO (The Minotaur)
B10 - LA NUOVA ISOLA (The New Island)