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一九六0年代中期美国电影的制作概念是:电影里面一定要加上一首电影主题歌,联美公司的「一夜狂欢」电影制作成本只有五十八万美金,但是原声带就净赚了两百万美金;「齐瓦哥医生」的主题曲原声带卖了两百万张,「豪勇七蛟龙」的主题曲被香烟公司以百万代价买下广告版权…利之所趋,自然形成风潮。

不过,开启电影歌曲潮流的关键人物就是作曲家亨利.曼奇尼,他替电影「第凡内早餐」创作的「月亮河」一曲,可以说是最成功的范例,不但影片催人热泪,电影原声带更是营销惊人,甚至餐厅酒吧都广为流行,创造了无数的附加价值,堪称是本世纪最成功的电影歌曲之一。

「悦耳好听」(EASY LISTENING)可以说是亨利.曼奇尼音乐的基本特色,歌曲形式和旋律都不复杂,但是耳朵听得进去,心灵还会受到感动,就完全要看作曲家撷取精华的功力。「月亮河」音乐是电影的灵魂,重点就是要来衬照奥黛丽赫本浪迹红尘,但是犹保赤子本色的清纯质地,亨利.曼奇尼另外创造了一些细雕细琢,象征红尘世界的背景音乐,描写纽约浮华,但是关键时刻,质朴单纯的「月亮河」就会浮现出来,他的剪裁搭配手法,充分捉住了音乐的戏剧情感。

「第凡内早餐」中,「月亮河」一共只出现过四次,首先是片头的主题音乐,点明主题;然后就是经常宿醉宴起的女主角奥黛丽赫本,有一天突然梳洗乾净,拿起吉他轻声吟唱起「月亮河」,电影中收录的是赫本的「原声带」版本,她稚嫩、梦幻般的嗓音,完全贴合了角色身世;等到最后高潮,情郎悲愤下车,赫本冒雨去寻找她的小猫,两人再度遇合,情不自禁雨中相吻,「月亮河」的音乐如雨丝般当头淋下,准确牵动了观众的期待和赞叹。

  本片是根据德鲁门·凯波特同名畅销小说改编,由布莱克·爱德华兹执导的爱情电影。奥黛丽·赫本出任本片主角,并凭此片第四度获得奥斯卡最佳女主角的提名。《第凡内的早餐》被影评界誉为上世纪“60年代美国最佳喜剧片",四十年来魅力丝毫不减,至今每年仍然吸引一大批新的观众,影片还是奥黛丽.赫本的表演履历中最值得提及的作品,也是她所有影片里上座率最高的一部,她生动自然的表演为影片频添异彩.影片获得了1961年第三十四届奥斯卡最佳音乐(歌曲),最佳音乐(剧情片与喜剧片配乐)两项奥斯卡奖,影片音乐同时获得了当年美国格莱美最佳歌曲奖。

  除了优雅美丽、闪闪动人的奥黛丽·赫本外,主题曲“月亮河”(Moon River)更是让人难以忘怀,由亨利·曼西尼作曲,安迪·威廉斯演唱。其婉转低回的旋律柔美悦耳,回肠荡气,逼人深思。在影片中,奥黛丽.赫本坐在窗前拿着吉它的原唱,细腻地倾诉她的梦想,更成为一个令人难忘的经典场景!《月亮河》也获得了1961年第三十四届奥斯卡最佳歌曲、葛莱美年度最佳歌曲奖项。

A Landmark Film Score. With his 1961 score for Breakfast at Tiffany's, Henry Mancini truly established himself as the eminent composer of film music for the early part of the 1960s. In his book "Medium Cool," film critic Ethan Mordden observed, one couldn't imagine these tunes, in these orchestrations, making do in any other film: "Moon River," "Latin Golightly," "Something for Cat," "Hubcaps and Taillights," "The Big Heist." With these songs, as well as with his overall arrangement of the music for Breakfast at Tiffany's, Mancini radically challenged the entire era that movie music should provide background and exist as a secondary and relatively formulaic accompaniment to the picture and dialogue. Mancini wanted his music to be conspicuous; he was at the forefront of shifting the aesthetic of motion picture music in Hollywood toward this concept. Mancini's impact in demonstrating that the times were truly changing for Hollywood movie music was evidenced when Breakfast at Tiffany's lapped up the film industry's approval by winning the Academy Award for best original score. His winning of this particular category with a score that was entirely jazz/pop-oriented, and beating out traditional powerhouse Hollywood composers that year, including Miklos Rozsa (El Cid), Elmer Bernstein (Summer and Smoke) and Dimitri Tiomkin (The Guns of Naverone), marked the beginning of a new era for movie music in the United States.

Amazon.com
When you think of Henry Mancini, you inevitably think of either "Peter Gunn" or "Moon River." (Well, maybe "The Pink Panther"–but that became a cartoon show, so it doesn't count!) Breakfast at Tiffany's gave the world the latter tune, and that beautiful melody recurs throughout this soundtrack LP, which remained No. 1 on the Billboard pop charts for 12 weeks in 1961. (Music for Peter Gunn in 1959 was Mancini's only other No. 1 album.) The soundtrack doesn't include Andy Williams's hit single of "Moon River," but then neither did the film. It does, however, take you through the many moods of the film (and the exploits of Miss Holly Golightly), with an emphasis on Latin influences in the forms of "Latin Golightly" and "Moon River Cha Cha." Nevertheless, one common complaint has been that RCA could've remastered the music and added additional tracks to flesh out the CD. Maybe in the future… –Bill Holdship(介绍来自网络)

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