Pasolini, for the first time in digital the soundtracks of the first masterpieces

The rhythm that accompanied Pasolini’s children in life arrives digitally for the first time. The music of Pier Paolo Pasolini’s first masterpieces, screenwriter and director, will finally be available to an audience of listeners who have not yet had the good fortune to appreciate real musical pearls, soundtracks and titles that until now did not appear in the streaming world. Entirely remastered tracks, remixed from the original tapes available with 2 absolute unreleased tracks. To bring the music of the first Pasolini to the streaming world, on the occasion of the 100th anniversary of the artist’s birth, is CAM Sugar which, in collaboration with Decca Records, on March 4th will release the compilation ‘One Hundred Years Of Pasolini / The Early Days’: 22 pieces written by Carlo Rustichelli, Piero Piccioni, Mario Nascimbene and Giovanni Fusco. A complex and meticulous work of research, reconstruction of tracks and restoration of tapes to make it possible to make works available to listeners as they had never heard before. Each track has been restored to its original audio dynamics in order to guarantee the best listening pleasure. .G, the 1963 film divided into episodes directed by Roberto Rossellini, Jean-Luc Godard, Pasolini and Ugo Gregoretti. La Ricotta, Pasolini’s episode, is considered the director’s first true masterpiece, with Orson Welles, voiced by writer Giorgio Bassani, as the director, Laura Betti and Mario Cipriani as extra Stracci. Some memorable passages are taken from La Ricotta, for the first time in digital: Ricotta Twist which returns often during the film, even in the first scene in color, an instrumental piece that the characters of the film seem unable to resist (in one scene Pasolini’s voice is heard calling the actors distracted by the twist to maintain a more serious attitude); Eclisse Twist instead accompanies the scene in which Orson Welles reads excerpts from Mamma Roma to a journalist; in the compilation also the ‘comic’ re-adaptation at double speed of the Traviata played with a crank piano, which is the background to Stracci’s race who, after having sold a dog for a thousand lire, runs to buy ricotta; and, finally, the Dies Irae, a song that closes the compilation, the final seal of the film with the extra Stracci who dies while interpreting the scene of the crucifixion that he is shooting. For the first time in digital, the official versions of the irresistible Cha Cha Cha and Stornello, taken from Mamma Roma, a 1962 masterpiece with Anna Magnani, Ettore Garofolo and Franco Citti (in the film, the Cha Cha Cha accompanies Mamma’s night walk Rome). “We are proud to bring these masterpieces to a wide audience like the one who listens to digital music and to all fans of soundtracks – says Filippo Sugar, president and CEO of the Sugar Group – It is the result of a demanding job that the CAM team Sugar works in the archives to bring to new life pearls that are often still to be discovered with the aim of enhancing an important part of Italian culture. “The compilation focuses on Pasolini’s first cinematographic period as director and screenwriter, with the first novels brought to the great screen: Una vita violenta, a 1962 film by Paolo Heusch and Brunello Rondi on a subject by Pasolini, released a few months before he made his directorial debut with Accattone: in the compilation there are the enthralling Easy Calipso and Serenata Cha Cha Cha by Piero Piccioni which accompanies the adventures of life boys. The compilation contains other excerpts from films based on Pasolini’s scripts with music also by Piccioni: the modern and rarefied jazz of Mauro Bolognini’s La notte brava from 1959 from which Atmosfera romantico is taken, while the Tango and the Cha Cha Cha sung are taken from La Commare Secca by Bernardo Bertolucci in 1962. Aldo’s Theme is taken from the film Death of a friend by Franco Rossi in 1959, composed by Mario Nascimbene with the musical direction of Ennio Morricone. Absolute unpublished are the songs contained in Black Milan, directed by Gian Rocco and Pino Serpi and released in 1963, composed by Giovanni Fusco: Skyscrapers and Alba at San Siro, played only by the trumpet, two music that sadly comment on stories without a happy ending with the protagonist condemned to never see his desire for redemption satisfied. Pasolini was hired to write the screenplay for Milano Nera with the aim of moving his vision from Rome to Milan, outside the towns of the capital. The film was released in theaters only for a few days in 1963 to disappear from circulation for almost 40 years and only be relaunched in the late nineties when the film was recovered and presented as a forerunner of the noir genre and of the detective story. is also celebrated by CAM Sugar with the release, again on the international market, of 3 complete soundtracks: on March 2 the soundtrack of Milano Nera will be released (both unreleased for digital), on March 5 it will be the turn of Ro.Go .Pa.G. and Mamma Roma.