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The article was written by Samantha Lin in The Soundtrack Vol. One the best articles analysing Nino Rota’s soundtrack to Romeo and Juliet is: “ How Silver-Sweet Sound Lovers’ Tongues’: The music of love and death in Franco Zeffirelli’s Romeo and Juliet”.

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It can be downloaded free (via a JSTOR login) at: ģ. 4, Shakespeare on Film III (FALL, 1977), pp. Rothwell in the Literature/Film Quarterly Vol. To add to the rave reviews on the perfect casting of the teenage Olivia Hussey and Leonard Whiting, the authentic, colorful costumes, the top-notch supporting cast, the deft camera work, I would like to observe something I haven't seen anyone else say: the cuts that Zefirelli's writers made to the original Shakespeare text exemplify expert screenwriting. “ Zeffirelli’s Romeo and Juliet: Words into Picture and Music”. They discuss a number of Nota’s film scores, including Romeo and Juliet (at about 20 mins 10 secs into the programme). Matthew Sweet is joined by Richard Dyer, Professor of Film Studies at Kings College London, the author of a study of Rota called “Music, Film and Feeling”.

BBC Radio 3 Podcast Sound of Cinema, 9 August 2014: “Nino Rota”.

There is a limited number of excellent online resources for understanding Nino Rota’s film music compositions. As for the results, you can judge these for yourself from the following video of my orchestral score: Rota wrote his music for a studio orchestra, which produced a more delicate sound.Īs I have previously written and published piano and orchestral arrangements of film scores, I decided to write my own orchestration of the six cues for Romeo, based on the original recordings, and to set these for a smaller studio orchestra.

The only problem I find with these transcriptions is that the orchestration is for a large symphony orchestra – the strings section alone has at over 40 players. Townend did a brilliant and painstaking job in orchestrating these, which were produced by Silva Screen Records with the City of Prague Philharmonic Orchestra in June 2002.

These original recordings are still available. The family’s agent wrote to me to say that the score had been lost many years ago, but that Mike Townend had been commissioned in 2002 to transcribe the original studio recordings of the cues written by Rota. For Romeo’s first appearance, in Scene 12, cues 3, 4, 5 and 6 are used in that order, starting from the moment we first see him walking up the street to the end of the scene.Ī couple of years ago, I wrote to Rota’s daughter, Nina, to ask whether the music score was still available. Rota wrote six different cues for Romeo in reflective mood. Instead, it is thoughtful and reflective. For example, in relation to Romeo, whose first appearance in the movie is after the civil riot, the music is in sharp contrast to the rioting scene. The director and the editor would then be given a menu of cues to chose from. He rarely wrote the music after the filming. He would be writing musical ideas from what he was witnessing and playing these on a piano. As we know from Zeffirelli’s autobiography, Rota would be present during rehearsals and sometimes at the actual filming.

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The composer then writes the music as series of short “cues”, each individually numbered to appear at the correct time sequence in the movie. Usually the composer waits for at least the first edited cut of the movie, and then sits down with the director to decide where the background music should be introduced – and in what style. 4 Pt.Nino Rota was unusual among film composers.

Paul czinner writing credits (in alphabetical order) 1968 Romeo And Juliet Free David SimchiLevi from See agents for this cast & crew on imdbpro directed by.

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Putlockers.llc is one of the best platform to watch free movies or TV series. Romeo and juliet 1968 full movie cast sunday, jedit. Guests: Mary Angela Rowe Laura Anne Harris, and Caitlin Merriman and sound recorder: Cam White us on Twitter or visit us online at where you can also find more detailed show notes. Romeo Montague and Juliet Capulet fall in love against the wishes of their. Host: Alex Heeney Editor-in-Chief of Seventh Row Also in this episode: the greatest Mercurio ever on screen, the differences in the balcony scenes, how the filmmakers have translated the play to the language of cinema, modern dress vs period dress, and more. We discuss why we prefer Luhrmann's film even though they don't Speak The Speech I Pray You. In this episode, we compare two film adaptations of Romeo and Juliet: Franco Zeffirelli's 1968 film and Baz Luhrmann's 1996 modern dress film.