I’ve had this one specific melody stuck in the back of my mind for probably thirty years now—it was that unmistakable musical theme from *Ben-Hur* that always seemed to swell whenever there was a mention or an appearance of Jesus. Fast forward quite a few years, and I remember hearing the theme from "Guns for San Sebastian" for the first time. For some reason, it immediately triggered this deep, religious association in my head. It took me a while to connect the dots, but I eventually realized it was nudging my memory toward that old *Ben-Hur* score. I finally decided to track down the actual piece, and it turns out it's this beautiful work by the composer Miklós Rózse:
I’m actually quite pleased that this selection features some lesser-known gems this time around. It encourages people who truly care about the craft to really sit down and listen, rather than just reflexively voting for the two most obvious blockbusters. It feels less like a "greatest hits" commercial list and more like a curated collection for true Ennio aficionados. Narrowing this down was honestly much harder than the first list. With the first one, I went in knowing I had to slash almost everything, but this time? It was brutal. Trying to cut out so many incredible pieces just to make room for the absolute cream of the crop—while still maintaining a decent variety—was a struggle. In the end, though, I found myself gravitating back toward more traditional cinematic scores, mostly because if I included the more experimental stuff, the volume would have been completely unmanageable.
I could have easily cast my vote for any of these, but I ultimately settled on the twenty tracks that resonate most deeply with me right now. I have to highlight "Guns for San Sebastian"—there’s a moment around the 1:45 mark where one of the most gorgeous melodies I've ever heard kicks in, featuring that stunning Edda Del Orso. Then there's "Ouverture Del Mattino," which is such a bright, playful little masterpiece.
This is the kind of music you don't just play in the background while doing chores; it's music you truly listen to. It’s layered, it’s challenging, and it is simply beautiful.
I’ve decided to go ahead and open up "Volume 2," mostly because a few folks on the boards requested it, but really just because I felt like it myself. To be clear, this isn't meant to replace the official poll coming out next week; rather, it’s a little extra something for those of us who just want to spend more time basking in his incredible discography.
Just like our first round, we have 50 tracks listed here and you're welcome to cast up to 20 votes.
Anguish and Pursuit La Resa Dei Conti The Meeting with the Daughter The Disguise Father Ramirez The Story of a Soldier Navajo Joe Misterioso E Ostinato The Rover Death Rides a Horse Guns for San Sebastian Morton (extended version) Tepepa Harry's Ranch - Main Theme Abolicao The Great Silence Barbara E Tagliente Ouverture del Mattino Alla Luce Del Giorno Muerte Donde Vas Sacco and Vanzetti Forza G Without Apparent Motive La Lucertola For Love One Can Die La Cosa Buffa Forse Basta Questa Pazza, Pazza Corsa Orca Regan's Theme Addio a Palermo Laringomania Il Prato Mia Cara Nonnina Pour Barbara Marco Polo Hundra's Love Theme Eternity Poverty Mille Echi Red Sonja Baci Dopo Il Tramonto The Mission Theme (remix) The Strength of Righteous Four Friends The Beginning of the Case On the Riverbank The Abandoned Houses Moving South The Limping Man
Michael Hughes said:Have you at least managed to watch a third of the movies from that survey where he did the music? I’m asking because I haven't been able to track down certain films myself, like Go Gators or Goodbye Moscow (Farewell Moscow), and I've been trying to find them for quite a while now without any luck.
Oh, not even close. I’ve seen all the Leonov films, and I think I've caught pretty much all the American productions he scored. As for that Italian one, The Heart Nel Pozzo—that was basically right-wing propaganda if I recall correctly. Back in the day, I used to watch series like The Octopus and The Secret of Sarah, and I think even Marco Polo when I was just a kid, though that feels like a lifetime ago... definitely different times. I remember Le Professionel being aired on TV several times, so I caught that one too. Little things like Melena and Baaria as well. There's probably more out there, but there's such a massive catalog of obscure Italian stuff and various other films and series that most of them probably never even made it to American television.
Michael Hughes said:Have you actually managed to watch at least a third of the films listed in the survey that he scored? The reason I ask is because I’ve been fruitlessly hunting down certain titles like *G Force* and *Farewell Moscow* for quite some time now without any luck.
Not even close! I’ve seen all of the Leone classics, and I believe I’ve caught pretty much every American production he worked on. I remember watching that one Italian piece, *Il Cuore Nel Pozzo*, back in the day—it was pure right-wing propaganda if I recall correctly. I used to catch series like *The Octopus*, *The Secret of Sarah*, and I think even *Marco Polo* when I was much younger, though that feels like a lifetime ago... definitely a different era. I also remember *Le Professionnel* being aired on TV several times, so I sat through that one too. Same goes for *Malena* and *Bagdad Café*. There’s probably more out there, but there are just so many obscure Italian films and various series that likely never even made it to the airwaves here in the States.
granitecyclist said:If that’s the case, then why on earth is the thread titled "A Week with Your Choice"? It feels a bit off, doesn't it?🤔
Here’s the copy-paste of the reasons from the intro post: Voting will be open for a full month for every single artist or band on the list, though we’re going to try our best to roll out new groups and performers on a weekly basis. I wanted to set it up this way so nobody feels like they have to rush through their picks. It’s important to me that everyone has the chance to weigh in, even if you happen to miss the initial window. There's absolutely no pressure to hurry—just take your time and enjoy the process!
granitecyclist said:If that’s the case, then why on earth did they title the thread "A Week of Your Choice"? It feels a bit off, doesn't it?🤔
Here’s the reasoning I pulled from the introductory post for you: The voting window for each artist or band will stay open for an entire month, though we’re going to try our best to roll out new groups on a weekly basis. I really wanted to set it up this way so nobody feels like they're being rushed through the process. I know how it goes—sometimes you get caught up with work or life gets in the way, and suddenly you realize you missed a deadline. By keeping the window wide open, everyone gets a fair shot to cast their vote, even if they couldn't jump in right away.
If you had been listening a bit more closely, you would have realized that Veruschka appears in this poll under the title 'la Bambola'. 😁 I completely understand that re-listening to everything can be exhausting for people, but it’s honestly worth the effort for Enniev. Besides, the poll stays open for an entire month, so there's really no need to rush through it all at once.
As for Red Sonja and Granda Silenzio, those will be featured in the next poll.
To be honest, he has such a massive collection of soundtracks that even I struggle to keep track of them all. It's just overwhelming. I actually put together my own massive "best of" compilation that I listen to most of the time, though I still dip back into individual soundtracks every now and then.
If you’d been listening a little more closely, you would have realized that Veruschka’s track in this poll is actually titled 'La Bambola.' 😁 I completely understand that it can be exhausting to sit through everything, but for the sake of Ennio Morricone, it’s honestly worth the effort. Besides, the poll stays open for a full month, so there’s absolutely no need to rush through it all at once.
As for Red Sonja and Grande Silenzio, those will be featured in the next round.
Honestly, the man composed so many soundtracks that even I struggle to keep them all straight. It’s just an overwhelming amount of incredible music. I actually put together my own massive "best of" compilation that I listen to most of the time, though I still find myself drifting back to individual soundtracks every now and then.
Edda Dell'Orso was such a staple in his musical arrangements, especially during that transition from the late 60s into the early 70s. She provided those haunting vocals, and by around 1970, she was often adding those soulful, breathy textures to the tracks. I actually finished organizing my playlist just yesterday, and I'm planning to share it with you all in the next few days. I won't be including this specific track from Forza G since we're running a bit behind schedule, but the main theme from Forza G will definitely be part of the lineup 😁
Edda was such a constant presence in his music, especially during that transition from the late 60s into the early 70s. She provided vocals, and by around 1970, she was even leaning into those soulful, gritty vocalizations. I actually finished putting together a list just yesterday, which I’ll be posting sometime in the next few days. This particular track won't be part of the Forza G release since we're a bit behind schedule on that, but the main feature from Forza G will definitely be making an appearance soon. 😁
Honestly, I don't know what it is about me, but I can be moved to tears by those Enniev pieces too. They weren't even intended to be sad, but they’re just so damn powerful that they hit me right in the feels 😁
I tend to look at his work through the lens of a philosopher first and a composer second. It’s about the "why" behind the sound. How do you actually bridge the gap between a cinematic moment and the listener's soul? How do you make sure a scene doesn't just drift away into nothingness because of a hollow, lifeless score? Morricone mastered that formula. He could pivot effortlessly between different landscapes and various directors who all demanded completely different vibes. Just as he navigated the diverse genres of European cinema, he handled American films with absolute grace. Honestly, I think he’s simply moved past the need to chase the technical bells and whistles found in modern American blockbusters—the kind of stuff Hans Zimmer produces. But if you ask me, compared to those massive productions, Morricone remains far more musically substantive.
He’s one of those rare geniuses capable of tapping into the true essence of music: the ability to trigger raw sensory responses. Whether he was crafting feelings of anxiety, deep sorrow, sheer terror, or even a sense of playful mischief, he always hit the mark. I truly believe he succeeded because he possesses a profound psychological and emotional maturity; he has the sensibility of a true artist. Most importantly, he understands how vital musical form and melodic substance are to achieving a specific narrative goal. That takes more than just skill; it requires an ear and a soul. Morricone has it all.
There is so much music out there today—stuff that even classical scholars spend time analyzing—that fails to move beyond mere mathematical, dry academic exercises. On the flip side, commercial music often struggles because it lacks any real depth, relying on lazy, predictable chord progressions. Throwing some related tones together doesn't make a piece of music "good," though it feels like nobody realizes that anymore. I actually stumbled upon a perfect little example of total musical banality earlier today:
Since I’ve already received quite a few specific requests regarding what everyone wants to see on the forum over the next few weeks, I don't think it makes much sense to launch volume 2 of the Morricone poll at the expense of everything else. Instead, I'll just set up a separate poll for Morricone's work on its own some day soon. Honestly, the turnout hasn't been massive lately anyway, so this will mostly be a dedicated space for those of you who drop in less frequently but still want to appreciate Morricone's incomparable sounds.
Honestly, I don't know what it is about me, but even those Ennie-style things—the ones that aren't even trying to be sad—just hit me right in the feels because they're so damn heavy-handed 😁
I tend to view his work through a specific lens: he’s a philosopher first and a composer second. It really makes you wonder how one actually bridges that gap—how do you take the raw emotion of a cinematic scene and truly transmit it to the listener? How do you heighten an atmosphere instead of just letting it drift into a void with some lifeless background track? Ennio Morricone cracked the code. He mastered a formula that worked across vastly different settings and varying directorial styles. Just as he navigated the diverse landscape of European cinema, he transitioned seamlessly into scoring Hollywood classics. If I'm being honest, I think he might be a bit too old-school to tackle the sheer technical scale of modern American blockbusters—the kind Hans Zimmer handles these days. But even then, compared to them, Morricone always felt more musically substantive to me.
He’s one of those rare geniuses who understood the true essence of music: its ability to stir the senses. Whether he was crafting something anxious, melancholic, terrifying, or even playfully irreverent, he nailed it every single time. I believe that’s because he possessed a profound psychological and emotional maturity; he had the sensitivity of a true artist. More importantly, he grasped how crucial musical form and melodic substance are when trying to achieve a specific narrative goal. You need talent, a trained ear, and genuine intuition for that. Morricone had all three in spades.
There is so much music out there today—even stuff classical musicians bother with—that fails to move past being mere mathematical exercises. On the flip side, commercial music often struggles because it lacks real depth, relying on lazily thrown-together chord progressions. Using related tones doesn't automatically make a piece good, though it seems like nobody quite realizes that anymore. I actually stumbled upon a perfect little example of pure musical banality earlier today:
Since I’ve already received quite a few specific requests regarding what everyone wants to see on the forum over the coming weeks, I don't want to crowd out other topics by launching Vol. 2 of the Morricone series right now. Instead, I’ll set aside a separate day just for that, independent of our usual polling schedule. Honestly, since the turnout hasn't been massive lately, I figure this will serve as a specialized poll specifically for those of you who drop in less frequently but truly appreciate the incomparable sounds of Ennio Morricone.