Three world-famous artists have made a film, "Fateless", that is expected to be among the year's greatest hits. The director Lajos Koltai, the cameraman, who was nominated several times for an Oscar, Imre Kertész, the Nobel-prize winning author, and last but not least, Ennio Morricone composer.
The music of the master (The Good, the Bad and the Ugly, Once Upon a Time in the West, The Professional, Once Upon a Time in America, Kill Bill, etc., etc.) humbly follows every sequence of the film, which was, according to the brilliant composer, the greatest challenge of his life, and at the same time is one of the best of his works.
The album, to be published on 13 January in Hungary, is enriched with the performances of world-famous stars like Lisa Gerrard, the vocalist of Dead Can Dance, whose brilliant voice brings a unique color to the work, and Ulrich Herkenhoff, panpipe player, who has shown his exceptional talent in the super-production "The Lord of the Rings".
Lajos Koltai said about working with Morricone and the creation of the film's music:
Fate has bestowed on me forever memorable moments, to have been given the chance to work together with Ennio Morricone. The humbleness with which he worked with us in Rome and Budapest was amazing. He repeated it several times, but I have felt it myself, he wished to serve the film with every note set to paper. His love for the film and his enormous faith in it radiated from his entire presence. When I first paid him a visit in Rome, he immediately declared that he would compose nothing, until he has heard from me what kind of music I had in mind. It is extremely difficult to tell someone of his stature, what kind of music one expects from him. He also asked me to tell him if I felt that a melody was not well adapted to the mood of a scene and he would remove it immediately. This only happened once when we agreed that in a scene no background music should be provided for the hero, the patter of rain would suffice as music.
The film is based on three basic musical motifs. All three are as simple as a folksong. They almost crawl under one's skin. The birth of the third motif is especially memorable to me. On the day that I showed Morricone the film, he was moved to tears and said that he would immediately write another song for the film. This is sung by Lisa Gerrard and is so beautiful that afterwards we called it "The Hymn of Solitude". Today I still think that working with the Maestro was a miracle for me, and I would very much like viewers to recall in their minds the pictures seen at the cinema as they listen to the album.
For further information concerning the soundtrack visit www.emimusic.hu/sorstalansag
tells about the music and the film
In the beginning of the film we meet a young boy, who in the end leaves us with the spirit of a grown man. Because of the dramatical experiences he had gone through, which most likely he will never forget.
In the film we can hear three different musical themes. Let's just say if we want to differentiate them then we can call the first style a folk motivator, which later is mixed with sounds of the lives of children, which portrays a naïve, innocent and peaceful kind of atmosphere. Which became the title music. This choice was important for me because I wanted to emphasize the rare emotional world of this young boy who is going through an extremely tragical period in his life.
Then came what we called the "lonely" musical theme, and then by the end it changed to the "suffering" motivator, which is to emphasize the most tragical points of the movie.
When we talk about the co-production between the composer and the director, the best thing possible is when the director can surprise himself with the music heard at the moment. That's exactly what happened with us in the studio. Because of this an amazing relationship developed between Koltai Lajos and myself, when we discovered that the music put satisfaction on both our faces. Well at least that's how I felt about what the music has brought forth so far.
Most likely I would've also seen the importance of a women's voice to build up the important, crucial points in the music. However Lajos beat me too it: He had even noticed two places, and I gladly admitted that he was correct.
Lisa Gerrard is a fantastic singer, with a beautiful organelle voice. We truly built a lot of the music to fit her rare archaic voice.
I thought it was very important to integrate the "cimbalom" into the theme music. I'm familiar with the findings of Bartok, I had studied them before on how they used this instrument in folk music and also symphonic music. However I wanted something different, the "cimbalom" is an extraordinary instrument, its tone is exciting, just by a note played that by itself gives of Hungarian charisma. It has such a strong individuality to it, that with a few notes being played, it's not questionable anymore which country its representing, however because of the musical style we don't take the tragedy to the fate of only Hungarians, because we all know that this tragedy was a bit more international. We are all witnesses to this worldwide crisis, even if the events in the film started off in Hungary, and the main actor returns to Hungary. This is an international dramatic event, and just happens too be that the character and the creator are both Hungarian.
I suffered plenty in the creation of each and every piece of my work, therefore I had fell in love with them as well. However this film has grown especially close to my heart. Even I don't understand how this works, but every time I think about a scene in the film I become sensitive and I have to fight against my tears. What Koltai Lajos had created, I feel it has become very much mine as his. And from now on it will stay in my heart.
... Ennio Morricone / December 2004
ENNIO MORRICONE- FATELESS Tracklist
2. RETURN TO LIFE
3. THE FIELD
4. HOME AGAIN
5. THE BEGINNING OF THE TRAGEDY
6. A SONG
7. AT THE TABLE
8. PSYCHOLOGICAL DISTRUCTION
9. ABOUT SOLITUDE
10. TO RETURN AND TO REMEMBER
11. A VOICE FROM THE INSIDE
12. A MIRROR
13. ABOUT SOLITUDE II
15. FATELESS II