2020年经济学人 电影配乐大师莫里康内(3)（在线收听）

He composed for the stage and the radio, but quit the national radio broadcaster, rai, when they wouldn’t let him freelance on the side. Branching out on his own, he refused to let himself be distracted, one reason why he continued living in Trastevere, travelled little and never bothered to learn to speak English. Hollywood, when it decided it wanted him, had to come to Rome. When his music came to him, it was fully formed. He would rise before dawn to write, composing at his desk on 12-staff paper with a pencil rather than experimentally at the piano.

莫里康内为戏剧和电台作曲，但在意大利国家电视台不允许他兼职时，他离开了那里。自立门户的他拒绝让自己分心，这也是他继续住在特拉斯提弗列、很少旅行以及从不费心学英语的一个原因。即使是好莱坞，一旦决定要用他，也得躬身来到罗马。一旦他的音乐灵感出现，就已经是完整的篇章。他会在黎明前起床创作，坐在书桌旁用铅笔在12行五线谱纸上作曲，而不是在钢琴上试弹。

His wife, Maria Travia, occasionally wrote the lyrics to his songs. He would play her his work, and only if she approved did he then show it to anyone else. A daily routine allowed him to experiment, first with Il Gruppo, an avant-garde free-improvisation collective in Rome for which he played the trumpet and the flute. But it was the soaring landscape of the cinema that allowed his composing to take flight.

莫里康内的妻子玛丽亚·特拉维亚偶尔会为他的歌曲填词。他会为她演奏自己的作品，只有得到她的认可，他才会给其他人听。例行的工作让他有了尝试的机会，首先是和IlGruppo合作，这是一个在罗马的前卫的自由即兴创作团体，他为这个团体演奏小号和长笛。但让他的创作得以翱翔天际的是高远辽阔的电影场景。

He liked using all the orchestra’s resources in his arrangements; his musicians would often find themselves playing instruments that they had never played before— the military snare drum, the jaw harp and, increasingly, the Fender Rhodes electronic piano. He wasn’t showing off; every note had a job to do. Changing one thing changed everything. In time he came to realise that his approach to composing was like his favourite grandmaster, Bobby Fischer’s approach to playing chess: a series of sudden and surprising moves.

他喜欢在他的编曲中使用管弦乐队的所有乐器；演奏他曲子的乐师经常会演奏他们以前从未演奏过的乐器-军鼓、口簧琴，还有使用越来越多的芬达·罗兹电子钢琴。他并不是在炫耀；每个音符都有自己的任务。改变一处就改变了一切。随着时间的推移，他意识到自己的作曲方式就像他最喜欢的国际象棋大师，博比·菲舍尔下棋的方法：一系列突然而令人惊讶的招式。