Ennio Morricone at 85: a conversation about his 'mission'

Author(s): FRANCO SCIANNAMEO

Source: The Musical Times , AUTUMN 2013, Vol. 154, No. 1924 (AUTUMN 2013), pp. 37-46
Published by: Musical Times Publications Ltd.

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 FRANCO SCIANNAMEO

Ennio Morricone at 85: a conversation

his 'mission'

To Sergio Miceli

who dwells in splendid quarters atop an historical palace opposite

Born theonRomanio Capitoline
November 1928,
Hill. From there Enniothe unique
he contemplates Morricone is a Roma's Roman1
spectacle of the modern city embedded in an ancient world whose ghosts
seem to come closer to life the older one grows. He is a composer universally
known for hundreds of film scores and experimental works, so much so that
his name has become synonymous with Italian music, with perhaps even
Verdi and Puccini giving an approving nod.
A star pupil of Goffredo Petrassi at the Conservatorio di Musica Santa
Cecilia in Rome, Morricone graduated in 1954 and soon embarked upon a
dual career of composer/arranger of commercial music - musica applicata
as he calls it - and Darmstadt-influenced avant-garde work. Cinema, on
the other hand, offered him endless opportunities to compose music that
combined his creative skills as warranted by wishes and demands.
Morricone has always been a strong artistic and human constant and a
lighting rod for those like myself involved in the teaching of film musicology
classes. His music to films bearing heavy social justice messages, such as
Pontecorvo's The Battle of Algiers (1966), Montaldo's Sacco e Vanietti
(1971), Joffé's The mission (1986), De Palma's Casualties of war (1989) and
Petersen's In the line of fire (1993) to name a few, never cease to make people
reflect upon the frailty of the human condition and on fostering hopes for
a better future.

In September 2011, following a symposium at which he presided at Santa

1. 'Romano de Roma' is a Cecilia to celebrate the music of Bernard Herrmann and Nino Rota, I
tongue-in-cheek qualifier
asked Morricone whether he was amenable to discuss The mission, a film
claimed by some individuals
whose Roman ancestry goes particularly dear to him and of great interest to me in condensing a human
back generations.
portrait of the man and the artist. He gladly agreed and proposed that we
2. Besides this work
meet at his house on a Saturday morning in May of the following year.
Morricone has composed
three more concertos for As soon as the doorman announced my arrival to the building's top
orchestra: Secondo Concerto floor, the Maestro answered the door and showed me to an opulent salon
perflauto, violoncello e
whose Baroque ornate high ceiling discretely concealed an overhead pro
orchestra (1984—85), Tetjo
Concerto per chitarra classica jector beamed at a large tapestry hiding a full movie screen. What a con
amplificata e orchestra d'archi trast, I thought, with the plush, state-of-the-art home theatres some of
(1991), and Quarto Concerto
per organo, 2 trombe, 2
his colleagues showcase in their homes. Our conversation shifted to his
tromboni e orchestra (1993). first major work, Concerto per orchestra (1957),2 violist Dino Asciolla and

THE MUSICAL TIMES Autumn 2013 37

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 38 Ennio Morricone at 85: a conversation about his 'mission '
3- Marco Polo, a 1982 Rai
production whose score
for the titles featured
formidable violist Dino
Asciolla. This composition,
if fully developed as a
concert piece for viola and
orchestra, could have become
a modern day Harold in Italy
and the joy of many a viola
player. In 1969 Morricone
composed for Asciolla Suoni
per Dino for viola and two
tape recorders.
4. Ennio Morricone
composed a 14-minute
try-out score for The Bible
(1965-66), a film by John
Huston produced by Dino
De Laurentiis. The score
was conducted by Franco
Ferrara and recorded at
RCA Italiana Studios. For a
variety of reasons it never
made it into the picture: see
Sergio Miceli: Morricone, la
musica, il cinema (Modena
& Milan, 1994), p.77 n.39.
It is interesting to note
that Morricone's music
was subsequently used in
the films IIgiardino delle
deli^e (1967) and Ilsegreto
del Sahara (1987). Huston
had initially commissioned
Goffredo Petrassi to score
this film. Ultimately, Toshiro
Mayuzumi composed the
film's soundtrack. For a full
story about this controversial
soundtrack see Gergely
Hubrai: Torn music: rejected
film scores (Los Angeles,
2012), pp.71-72. As late as
2010 Morricone expressed
regrets for not having been
able to score The Bible. See
Morricone: Lontano dai sogni:
conversazioni con Antonio
Monda (Milan, 2010), p.i 19.
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the music for Marco Polo? the disappointing outcome of The Bible's
soundtrack,4 and the breakthrough score he composed for Levinson's Bugsy
(1991). About the latter Morricone elaborated on the non-thematic material
used to underscore mobster/sociopath Ben 'Bugsy' Siegel's problematic
polarities: then - perhaps at a loss for words - he leaped to the piano and
played the series of natural harmonics upon which he had weaved a sort of
metaphysical sonic tapestry to create this film's unique atmosphere.
The conversation then turned to The mission, the epochal 1986 film di
rected by Roland Joffé and produced by Fernando Ghia and David Puttnam.
This film, starring Robert De Niro and Jeremy Irons, is an outstanding
example of cinematic narrative that crosses cultural and historical boun
daries through a vivid depiction of the conflicting worlds of Spanish and
Portuguese colonialism in South America, the plight of the Guarani Tribes
people, and the Catholic Church's perpetual interference with politics
and its quarrels with the liberal-leaning Order of Jesuits. Morricone was
particularly involved in writing The missions soundtrack. Overwhelmed by
a narrative drenched in social unjustice and human cruelty yet permeated
with Christian forgiveness, the composer recounted how he came to terms
with the many moral dilemas he faced when scoring this story, a story that
has no winners but self-sacrificing heroes, a story that ends in desolation
with the heartbreaking sight of a Guarani child holding a broken violin
while asking the world why the need for another holocaust.
In the course of our interview, Morricone became visibly emotional as
he recalled how a dear friend of his, Italian producer Fernando Ghia (1935—
2.005), first approached him to compose the music for a film based on the
compelling fate of the San Carlos Mission in the Guarani Iguazù Falls area,
one of the 30 Utopian, self-governing cooperative communities established
by the Jesuits from 1607 to 1768 in territories across Paraguay, Argentina,
and Brazil.
When asked, the composer was not too sure about Ghia's sources of in
spiration for wanting to produce this film. However, Morricone recalled
that Ghia used to make references to 'Il sacro esperimento' ('The holy
experiment'). Aside from II sacro esperimento del Paraguay: dagli scritti
del gesuita Antonio Sepp, a book whose 1990 publication date would have
made it an unlikely text in 1985,5 we reviewed other sources Ghia could
have been familiar with, beginning with The Jesuit republic of Paraguay, an
award-winning documentary film shot in 1978 by the Jesuit priests Robert
McCowen and CJ McNaspy based on a large study by Philip Caraman.6
5- II sacro esperimento del del Guarani: un'alternativa 6. Philip Caraman: The lost
Paraguay dagli: scritti al sistema coloniale di paradise: the Jesuit republic in
del gesuita Antonio Sepp, Francesco Barbarani (Verona South America (New York,
Preceduto da Le Riduponi & Vicenza, 1990). 1976).
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7- C] McNaspy & JM
Blanch: Lost cities of
Paraguay (Chicago, 1982).
Furthermore, it appeared
that McNaspy collaborated
as a consultant to the making
of The mission.
8. Venice, 1928.
9. Hochwälder's 1941
very successful play was
presented in two made
for-television films in 1966
(Rainer Wolffhardt) and
1985 (Wolf Kaiser). It was
translated into English as The
strong are lonely and staged in
New York on Broadway for
seven performances in 1953.
10. For details see The Jesuit
missions of the Guaranis,
an ICOMOS-UNESCO
publication (Buenos Aires,
1997)
11. Robert Bolt: The mission
(New York, 1986).
12. Quoted by Dennis
McLellan in the Los Angeles
Times, 11 June 2005, under
'Fernando Ghia, 69; Italian
Film, TV Producer Known
Best for "Mission".'
13.ibid.
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This film was followed by The lost cities of Paraguay, a very evocative
book written by McNaspy and illustrated with splendid photographs by
JM Blanch, another Jesuit Brother.7 It was also possible that Ghia had
knowledge of the classical study by Eberhard Gothein (1853-1923), Der
christlich-sociale Staat des Jesuiten in Paraguay available in Italian translation
since 1928,8 or a well-known theatre piece by Fritz Hochwälder, Das Heilige
Experiment.9 Furthermore, Ghia - an indefatigable world traveller - was
surely aware of a large project initiated by a Paraguayan, Argentinian and
Brazilian committee of experts aimed at the preservation of the ruins of the
30 Jesuit Missions, eight of which were located in Paraguay, 15 in Argentina,
and seven in Brazil. In fact, a project called 'Itinerary of the Missions' had
been on the table since the early 1970s, and included all the elements of
artistic and natural value to be found in the Jesuit Province of Guayra.10
Conjectures aside though, in 1975 Fernando Ghia secured the collaboration
of British novelist, director and script writer Robert Bolt (1924-1995),
with whom he had worked on several films and television productions and
whose screenplay credits included Lawrence of Arabia (1962), A man for all
seasons (1966) and Dr Zhivago (1965). Bolt wrote a novel, The mission,"
and a screenplay that Ghia pitched to Paramount to obtain development
money. It seems that in order to persuade Bolt to participate, Ghia invited
him to South America to tour the ruins of the great Jesuit missions and the
breathtaking falls, which are more than 40 feet taller than Niagara Falls.12
'Bolt sat and stared at them for an hour, until the light was gone,' Ghia
recalled in a 1986 interview with The Times. 'Then he said, "It's if God for
a day had decided to be a production designer"."3 Although Paramount's
executives approved of Bolt's script in the first place, they later withdrew
any financial involvement, perhaps doubting the film's commercial viability.
While producing other movies, Ghia continued his quest for funding The
mission. In 1984 he finally came to an agreement with Goldcrest Films &
Television Ltd of London and with producer David Puttnam, who brought
in Roland Joffé as director.
Puttnam had already seen Bolt's script while in Los Angeles in 1977 and
had remained deeply moved by its compelling narrative: thus he and Ghia
met periodically thereafter to discuss the realisation of the film. Years later,
with the film in full production, a series of irreconcilable disagreements
between the two men - Puttnam based in London and Ghia on location in
Colombia - left Puttnam with no alternatives but to step in and take over
the whole production, thus repositioning Ghia to the role of co-producer.
During 16 weeks of shooting on location in Colombia and at the Iguazù Falls,
the cast and crew, while dealing with scorching temperatures, high humidity,
tropical rains, floods, deadly reptiles, infesting mosquitoes and wide-spread
dysentery, were also plagued by continuous financial contretemps caused by
THE MUSICAL times Autumn 2013 39
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40 Ennio Morricone at 85: a conversation about his 'mission'
14- Andrew Yule: Fast fade:
David Puttnam, Columbia
Pictures, and the battle for
Hollywood (New York,
1989), p-151 •
15. Quoted by McLellan:
'Fernando Ghia'.
16. It is not to be excluded
that Puttnam alluded here
not to Leonard Bernstein
(1918-1990) but to the well
known Hollywood film
composer Elmer Bernstein
(1922-2004).
Ex.i: Morricone: 'Gabriel's oboe' (courtesy of Sergio Miceli)
J = 90
^irrrrrrrrr-^i
^irrrrrrrri-^i1/ JmrrriiQ
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Goldcrest that caused the situation in Colombia to reach anguishing pro
portions. Finally, though, the last of Goldcrest's money arrived just before
The mission had finished shooting.14
When The mission finally reached theatres in 1986, The Times's Charles
Champlin, who had first reported Fernando Ghia's plans for it in 1975,
wrote that the Italian producer had told him after the movie's release, 'The
thing that's important to me is that there should be social commitment. We
provide entertainment, but we should also provide food for thought'.'5
In fact, it was this very notion of social commitment brought up by Ghia
that left Morricone profoundly overwhelmed and confused after screening
the film's rough-cut for the first time in London.
I was aware that when I went to London to view the film at Ghia's invitation, Puttnam
had already tried to get in touch with Leonard Bernstein for composing the score, but
apparently his query remained unanswered.'6 However, at the end of the screening I felt
so torn by what I saw that I decided against scoring the film. Following some strong
convincing on Ghia's part, I accepted the task, immersed myself in reading what I could
about the story's historical period and devised a musical scenario based on the mystique
of the Trinity. It consisted of three principal thematic 'mandatory conditions' provided
respectively by the sound of the oboe (as one of the protagonists plays the oboe), the
human voice (the Guarani people sing 'solo' and choral pieces), and a kind of illusory
ethnic music which is heard in combination with the other two components only during
the end credits as a collective musical fresco.
At this point in our conversation, Morricone elaborated on his 'Trinitarian'
thematic schemata:
Let us begin with the fact that the oboe-playing of one of the protagonists, Father Gabriel,
signified that he was the bearer of a specific instrumental post-Renaissance experience
connected to its time. So I had to compose a theme for the oboe that sounded sort of
constrained at the beginning, a theme based on the 'supposed' notes and embellishments
that the apparently 'untrained' fingers that Father Gabriel (Jeremy Irons) employed in
his oboe-playing simulation. I preferred to follow this procedure in order to offer the
viewer the illusion of some kind of synchronisation, especially at the moment when the
'frightened' Jesuit priest tried to play surrounded by a large group of suspicious and
menacing Guarani. The theme is then heard performed with full accompaniment (ex.t).
This theme, known as 'Gabriel's oboe', not only generated the melodic
and harmonic cells that formed the other themes in the film's soundtrack,
\J- ^rcfip^rrrriw. M
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17- Miceli: Morricone, p.286.
18. For information on
Zipoli see Pedro José Frfas:
Memorias del musico Zipoli
(Côrdoba, 1975). Zipoli's
Adagio per oboe, violoncello,
archi e organo, transcribed
by Francesco Giovannini,
was published in Paris by
Costallat in 1964.
19. Miceli: Morricone, p.292.
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but acquired great significance insomuch as Father Gabriel emerged in the
film as the true Utopian searching for an impossible coexistence between the
opposite factions. He remained and marched with the Guarani toward death
while holding high the holy emblem of a faith that had abandoned him.
Furthermore, his gaze searched for the mortally wounded Rodrigo (Robert
De Niro) almost as a priest/soldier alter ego in order to die together.
Miceli's comment is very eloquent when he states, 'Gabriel's oboe was no
longer a generic message of Christian faith, but the musical materialization
of a sentiment of love more than civilisation'.17
There have been speculations surrounding the origins or rather the type
of Baroque oboe repertoire that could have inspired Morricone to compose
his oboe theme. The very pragmatic explanation he offered in the course
of our interview makes a lot of sense, but one cannot help noticing by pure
coincidence a certain sonic resemblance between Morricone 's theme and the
Adagio per oboe, violoncello, archi e organo by Domenico Zipoli (1688—1726),
an Italian Jesuit musician active in the Missions of South America. This
Adagio, a transcription by Francesco Giovannini of one of Zipoli's Toccate
per I'Eleva-pone, had been recorded by French oboist Pierre Pierlot in the
1970s and was part of a best selling Erato LP entitled Le charme du hautbois.
Were Morricone and/or Ghia aware of its existence?'8 Sergio Miceli on the
other hand, detected an antecedent of 'Gabriel's oboe' in the main theme of
II deserto dei Tartari, a film by Valerio Zurlini made in 1976.19
Regarding the liturgical component of his 'Trinitarian' set, Morricone
pointed out that 'in order for me to be historically pertinent to the period
in question, I composed Conspectus tuus, a four-part motet in the style of
Palestrina. This type of setting would have reflected better the traditions
of Church music after the Council of Trent (1545-1563) as imported by the
Jesuits into South America' (ex.2).
Another important liturgical four-part composition heard in the film is
Ave Maria Guarani, first sung solo by a Guarani boy in a poignant scene that
took place before an assembly of religious and political notables, then as a
choral procession toward martyrdom at the end of the picture.
Above all, though, Morricone seemed eager to discuss the ending of the
film from an interpretive point of view.
In this film I had a problem that did not manifest itself right away but little by little
without any warning coming from the director or producer. The film takes place in a
Catholic Mission of South America in the first half of the 18th century. There are some
priests who teach music to the Guarani, imparting them what was practised in Europe at
that time. Furthermore, the Jesuit in charge of the mission plays the oboe. There was a
liturgical context to take into account still connected to the Western tradition but which
in this case referred to sacred music. Then, for ambiance reasons, consideration needed
to be given to the music of the Indians, an ethnic music. I wanted to mix the three ideas,
which I did throughout the film, preferably in pairs; oboe and ethnic music — ethnic music
THE MUSICAL TIMES Autumn 2013 41
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42 Ennio Morricone at 85: a conversation about his 'mission'

Soprano fete i> 7Tr irIf=£

It r rr J
Con -- spe
Con spe ctus
ctustu
tu- -us
usno
no- stra
stra
mn — ~~

k
mjjJ
J ic/r 'JîJ igjr
J ■LL-Llgi 0 iJ J
Alto

Con - spe
spe -
- ctus
ctus tu
tu -
- us_
us_
mp

Tenor *) i' i* Ml" ffr ii,

m fl
Con - spe - - ctus tu - us no
mp — H

f~7f
f if. =£~
r
r 1'r
'r r
Bass
r r
Con - spe - ctus tu - us

ab - sen - ti - a_

r
r ir
T urJpjt
Uf'P m J
j t-n j
stra ab - sen - tia_

ILTir
r rPrrrr r ^
r i r rTr
stra ab

m
no - stra_

Ex.2: Morricone: 'Conspectus tuus', opening (courtesy

and liturgical choir. Only at the end did I combine all thr
anticipated since the beginning and thus did without mu
interpreting the union of the priests with the Guarani. T
music is similar to the communion between the people. Fo
greatly satisfactory, because it was difficult to find a wa
the three components.
I would like to point out something else: the Bass Drum th
it to be reminiscent of the cannon shots heard during the
reason: every time I heard Argentinian or Brazilian music —
casual (or perhaps not casual) sound out of tempo was alw
I used it as a touch of authenticity.
The fusion of the three themes in the last scene is hea
rescues a broken violin from the river before she clim
glorioso' was dubbed by Fernando Ghia 'On earth as it
Lord's Prayer.

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 From a technical stand point this finale turned into an extraordinary
achievement that broke new frontiers in the field of film music; the folk-like
chorus and congas repeating a rhythmic ostinato pattern in 3/8 - aspects of
which Morricone said he had previously used in the 1974 film II sorriso del
grande tentatore by Damiani - superimposed on the motet Conspectus tuns
sustained by the strings, thus making it, in effect, an eight-part chorale in
4/4, and 'Gabriel's oboe', which was recorded separately and then dubbed
in the mix for major impact, have remained emblematic in the world of
popular culture of forms of 'coming together' (ex.3).
The paramount role of music in The mission becomes clear after its
opening scenes; the long shot of the San Carlos Mission that shows
Father Gabriel giving a group violin lesson to Guarani children while the
Pontifical envoy Altamirano's (Ray McAnally) voiceover 'the noble souls
of these Indians incline towards music. Indeed, many a violin played in the
academies of Rome have been made by their nimble and gifted hands', as he
writes his report to the Pope, is portentous of things to come. In fact, it is
Father Gabriel who communicates with the Guarani above the Iguazù Falls
through the sound of his oboe. Then, again, Altamirano's voice is heard
admonishing that 'with an orchestra, the Jesuits could have subdued the
whole continent'.

Finally, we see a dispute taking place in Asuncion between Altamirano,

the Spaniard Don Cabeza (Chuck Low) and the Portuguese Don Hontar
(Ronald Pickup) about the partition of the Guarani land. To foster their
cause on behalf of the Guarani's freedom, the Jesuits proudly display a youth
who sings a melody (the Ave Maria Guarani mentioned before), provoking
the following testy exchange between Altamirano and Don Cabeza:

Altamirano: 'Don Cabeza, how can you possibly refer to this child as an animal?'
Don Cabeza: 'A parrot can be taught to sing, Your Eminence.'
Altamirano: 'Yes, but how does one teach it to sing as melodiously as this?'

These examples are sufficient to establish that in The mission music does
not appear as common language, but as Sergio Miceli very appropriately
stated, it constitutes 'a paradigmatic constant whose potential is developed
by Morricone by transforming it into a syntagmatic constant, one unique
exchange coin, a vehicle for individual growth and collective spirit applied
from time to time to Christian and laic mystiques or both at the same time, in
a moment of illusory fusion (a message rendered explicit by Morricone).'20
A mystique of a laic kind - or a tendency toward secularisation - is present,
continues Miceli, 'in the Jesuits' discourse as well as the director's point
of view, clearly manifested in the last scene in which a surviving naked
young girl collects an object from the water; the frame shows a three-armed
20. ibid., pp.282—83. candelabra and a violin, but without hesitation she picks up the latter; a

the musical times Autumn 2013 43

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44 Ennio Morricone at 85: a conversation about his 'mission '

Ex.3: Morricone: The mission, finale, opening (courtesy of Sergio Miceli)

J = 76

Oboe h~7.
fern

mf

3 ' "
Choir

Vi - ta, vi - ta no - stra tel - lus

Congas ad lib.
torn torn
J JJ JJ JJ JJJJ adlik
tamb. pic.
cassa gr.
lI ÎJLT
U1 r rUULJ
E_r r

Soprano
[I Con - spe

Alto

Tenor

Bass

Violin
Violin i i
in
im mp

Violin
Violin 2 2 hrr.—
brr.

Viola

Cello
Double bass

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Ex.3 continued

THE MUSICAL TIMES Autumn 2013 45

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46 Ennio Morricone at 85: a conversation about his 'mission '
21. ibid.
22. Following The mission,
Morricone and Joffe
collaborated on such films
as Fat man and little boy
(1989), City of joy (1992) and
Vatel (2000). Of the latter
Morricone said that 'although
Vatel was hardly a box office
success, it is a very beautiful
film for which I wrote one of
my favorite themes'.
193.0.118.39 on Sun, 12 Nov 2023 22:21:19 +00:00
demonstration that for her innocent instinct the violin as an object does not
betray but could encompass the values of the former, not vice versa.'21
There is no doubt that taken as a whole this constitutes a great example of
idealism, the same ideals perhaps that could explain Morricone's emotional
reaction and initial decision not to compose music for the film. Aside from
the film's multiple narratives, one could affirm that Morricone found in
The mission an unequivocal expression of musical symbolism drenched
in idealism that, as we know, has always accompanied him in each of the
genres he dedicated his art to. The decision to give musical voice to the
film was a sort of challenge in attempting a formalisation of those semantic
values already expressed so efficiently by Joffé.22
At the conclusion of our conversation I asked Ennio Morricone whether
he intended to keep up his gruelling concert-giving schedule, to which
the Maestro replied that he was going to curtail his conducting activities
because at his age one needed to be thinking about other things. Thus, to
my request for an explanation of what he meant by 'other things', he replied
with a smile: 'Think about it. Perhaps you can do something with it in your
article!'
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