CORRI UOMO CORRI

Digitmovies presents the complete original motion picture soundtrack composed by Bruno Nicolai for the classic Italian western movie “Corri uomo corri” (aka “Run man run”). Directed in 1968 by Sergio Sollima, the movie stars Tomas Milian as the good but unlucky Peone Cuchillo and the noted cuban actress/dancer Chelo Alonso as girlfriend Dolores, in the continuous and desperate search for her lover among troubles and sunny lands. This CD de-luxe edition was made possible thanks again to the big help of the team of C.A.M. who have approved our project and have given us the permission to use the complete stereophonic mastertapes of the 1968 recording session. In the original tapes we could discover tracks that were not on the original C.A.M. 33 rpm Album: reprises of the main themes, but also totally new material. This OST frequently features as protagonist the fabulous choir of I Cantori Moderni di Alessandroni. Their performance enriches the instrumental themes for large orchestra. For this Italian western movie Bruno Nicolai composed a true musical masterpiece: epic, romantic, dramatic, desperate, adventurous, dominated by a main theme with revolutionary flavour called “Espanto en el corazon”. The song is presented as both the moving film version, sung by Tomas Milian (Tr.1), and the alternate album version sung by Peter Boom (Tr.33). Strangely, the Milian version – heard effectively during the opening credits – was only recorded on the 45 rpm single C.A.M. (CAM AMP 46), while on the 33 rpm album C.A.M. (SAG 9006) and on the successive C.A.M. CD re-issue (CSE 070) only the Boom version has appeared. Bruno Nicolai recorded several variations of the main theme: a joyful arrangement for whistle and guitar performed by Alessandroni (Tr.4), a slow version for guitar and choir (Tr.9), slow and pastorale versions for oboe, guitar and strings (Tr.10, Tr.26), a fast and dramatic one (Tr.13), a choral and patriotic (Tr.17), a capella with mixed choir (Tr.18), for solo guitar (Tr.22), for choir and orchestra (Tr.28, Tr.32). The second recurrent motif is “Tema Dolores,” a rhythmic Mexican mariachi for female voices and orchestra, introduced first in Tr.3 and reprised later with different versions in Tr.6, Tr.7 (incl. a short reprise of the main theme as well),Tr.14, Tr.16. The third recurrent theme is an epic, extremely lyric and nostalgic motif introduced by choir with a pop arrangement for guitars (Tr.12), reprised then with a different instrumental performance (Tr.15). Other versions included are for classic guitar and strings (Tr.25) and last but not least a version with a faster pop version for choir and orchestra (Tr.31). The dramatic side of the story is background with dissonant and violent orchestral themes: atonal strings and voices with a citation for flute of the main theme (Tr.2); a theme introduced by low-key strings and built to a powerful crescendo for full orchestra and choir (Tr.5); a symphonic theme dominated by brass and percussions (Tr.8), a dark and heavy tremolo of dissonant strings (tr.23). Bruno Nicolai had also provided some unforgettable, extremely epic and adventurous music passages that recall the Sergio Leone atmospheres, like the Deguello-like theme (Tr.16), another theme with a big orchestral climax and with choir (Tr.19). Oboe and orchestra introduce an epic/mystical passage for strings and percussions (Tr.27). Among the themes released for the first time on record we also included a Gospel for the Church scene performed by the unsurpassable voices of Cantori Moderni (Tr.24). This Cd is another proof of the musical greatness of Bruno Nicolai.