RED MOON (musick & other arts)

BACALOV LUIS ENRIQUE

IL VANGELO SECONDO MATTEO
(THE GOSPEL ACCORDING TO SAINT MATTHEW)


Original Issue: 1964 Mainstream (S/4000)

Reissue: 1996 RCA (74321-37416-2 OST-132)

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Margot-meter: 4 moons / 5

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1. GLORIA from "Missa Luba" (p.d.) (02:40)
2. SOMETIMES I FEEL LIKE A MOTHERLESS CHILD (spiritual) (03:08)
Voice: Odetta
3. SIGNORE MIO (from a Hebrew Song) (02:05)
4. TRE FRONDE TRE FIORI / VIENI DA ME (05:54)
(JERUSALEM: DAYTIME)
5. TRE FRONDE TRE FIORI (05:16)
(JERUSALEM: NIGHT TIME)
6. VIENI DA ME / TRE FRONDE TRE FIORI / VIENI DA ME (02:26)
(DANCE OF SALOME)
7. INDEMONIATI 1 (00:51)
8. INDEMONIATI 2 (02:22)
9. INDEMONIATI 3 (01:29)
10. GETSEMANI (01:09)
11. THE 13TH CENTURY (01:29)
Sergei Prokofiev from "Alexander Nevsky" Film Score
12. ADAGIO from the "Concerto in C minor" BWV 1060 Double Concerto for Oboe & Violin (05:09)
Johann Sebastian Bach
13. MAURERISCHE TRAUERMUSIK KV 477 (06:31)
Wolfgang Amadeus Mozart
14. DONA NOBIS PACEM from "Agnus Dei" from "Mass in B minor" BWV 232 (03:00)
Johann Sebastian Bach
15. ADAGIO from the "Concerto in E for Violin" BWV 1042 (07:32)
Johann Sebastian Bach
16. ERBARME DICH, aria from "St. Matthew Passion" BWV 244 (06:41)
Johann Sebastian Bach
17. WIR SETZEN UNS MIT TRANEN NIEDER from "St. Matthew Passion" BWV 244 (06:50)
18. GLORIA from "Missa Luba" (p.d.) (02:40)

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from http://jclarkmedia.com/:

The only aspect of this magnificent film which does not work, at least for me, is the self-consciously eclectic use of music, which extends from Bach to Prokofiev to folk music.

He wants this polyglot score in an attempt to create subtle, and shifting, tensions between the world of ancient Judea and our own. Sometimes it enhances the drama; other times its repetition or incongruity are distracting. For instance, the excerpts from the striking Missa Luba: An African Mass lose their impact with each subsequent repetition (there are many); and although the mood of the haunting spiritual "Sometimes I Feel Like a Motherless Child," sung by Odetta, matches the nativity scene beautifully, the lyric clashes with the action and ultimately proves distancing. (It's worth noting that Pasolini had once considered filming The Gospel in Africa with an all-African cast, to recreate the feeling of an ancient world still present today; a few years later he contemplated a similar juxtaposition regarding Greek myth, as seen in his fascinating documentary, Notes for African Orestes.) In contrast to the music here, Pasolini's use of only J.S. Bach's music on the soundtrack to Accattone, a contemporary tale of Roman slums, works to astonishing effect.