Home > Greatest Scores of the Twentieth Century, Reviews > IL GATTOPARDO – Nino Rota


January 25, 2021 Leave a comment Go to comments


Original Review by Craig Lysy

Studio executives of the Italian production company Titanus decided to bring to the big screen the popular 1958 best-selling novel Il Gattopardo (The Leopard) by Giuseppe Tomasi di Lampedusa. Collaboration with 20th Century Fox brought the necessary financing for a budget of $2 million. Titanus producer Goffredo Lombardo was tasked with the project, and Luchino Visconti brought in to direct. Controversy arose over casting the key role of Prince Don Fabrizio Corbera of Salina as Visconti desired Marlon Brando or Laurence Olivier but the 20th Century Fox leveraged their financing of $2 million to force Burt Lancaster into the role over Visconti’s objections. Joining him would be Claudia Cardinale as Angelica Sedera, Alain Delon as Prince Tancredi Falconeri, and Rina Morelli as Princess Maria Stella of Salina.

The story centers with the family of Prince Don Fabrizio Corbera of Salina and his family in Palermo Sicily circa 1860 C.E. He is a member of the landed aristocracy during the turbulent time of the Risorgimento in which Italian republican nationalists fought to overthrow the eight aristocratic kingdoms in Italy and unite them under one banner in a new modern state. Don Fabrizio tries to hold onto the old ways and keep his family intact, yet complications arise when his dashing nephew Prince Tancredi casts his fortunes with the republican redshirts of General Giuseppe Garibaldi. Ultimately Don Fabrizio sadly realizes that the old ways are succumbing to a modern new order. Rather than embrace this new reality he recoils and departs from a grand ball in the film’s finale, choosing to walk into the blackness of an alley and disappear into the past for which he longs. The film was a tremendous commercial success in Europe, but foundered in the U.S. when 20th Century Fox distributors edited 24 minutes out of the film much to Visconti’s distress, changed from a 70mm to 35 mm format, and then chose to release it in DeLuxe color instead of the far superior Technicolor.[4] Critical reception was mixed with it securing a single Academy Award nomination for Best Costume Design. Over time the film has aged well and been recognized as outstanding, with Martin Scorsese praising it as one of the greatest films ever made.[5]

Director Luchino Visconti had enjoyed his two previous collaborations with Nino Rota – Le Notti Bianche (1957) and Rocco and His Brothers (1960) – and so hired him to score his passion project. Yet things started off on the wrong foot as he was dissatisfied with Rota’s initial ideas, however when Rota played music from his unpublished Sinfonia Sopra Una Canzona (Symphony on a Love Song), it was love at first hear. With Visconti’s blessings Rota proceeded to derive his soundscape from the pages of his symphony. Due to time constraints two other composers contributed to score. Italo Delle Cese provided the marcia comico for the “Giovani Eroi” and “Marcetta Imbarazzata” cues, while Felice Montagnini used Rota’s motifs to score the “Amore e ambizione” cue.

For his soundscape Rota composed three primary themes. The Fate Theme, underpins the story’s narrative and is intrinsically linked to Don Fabrizio. It speaks to the inevitable, implacable, and irresistible tide of history, which brings change, sweeping away the old order for a new one. It offers two wistful five-note phrases. While forlorn horns normally render its notes, a number of cues feature beautiful melodic transfer to strings and woodwinds. Don Fabrizio’s Theme serves as the score’s primary theme as the story unfolds from his perspective. It offers one of the finest in Rota’s canon. It is long lined, with its phrasing often transferred from warm French horns, to solo oboe, to strings. It is wistful, nostalgic, and full of yearning reflecting his futile longing to forestall the implacable passage of time. The Love Theme offers a sumptuous Romance for Strings, which I also believe to be one of the finest in his canon. The theme’s application is both personal, and transpersonal, supporting the romance of Tancredi and Angelica, but also Don Fabrizio’s love of Tancredi, his love of his family, as well as his love for his beloved homeland Sicily. The Sicilian Theme, which often beautifully accompanies the Love Theme, features two triplets tenero carried gently by woodwinds delicato. I believe it speaks to the love of Sicily, its people and culture. While its articulation is generally romantic, its expression can also be rendered militaristically with fervor as an emblem of Sicilian pride.

For secondary themes we have the Traveling Theme, which imparts a feeling of propulsion during scenes of travel It offers energetic repetitions of a four-note phrase opening phrase answered by a five-note phrase by strings spiritoso. The Conflict Theme supports both battles as well as scenes of conflict. It offers repetitions of a bold and energetic two-note phrase answered by a galloping six-note phrase. It emotes molto dramatico providing kinetic force. Lastly, Rota understood that he would have to weave into the tapestry of his score the cultural sensibilities of 19th century Sicily. To that end he in a masterstroke interpolated a newly discovered waltz by Giuseppe Verdi. Fate would have it that one of Visconti’s friends discovered an unpublished Verdi piece, “Valzer Brilliante” at a bookstall, which he gifted to Visconti.[8] It was used as the opening piece of the Gran Ballo and later for the fateful dance between Don Fabrizio and Angelica. It offers a wondrous, resplendent waltz that competes with any of the existing classics. Rota also interpolated dances in the cues “Valzer del Commiato” and Gallop” from his score to the 1954 film Appassionatamente. He composed original dances for the cues “Balletto”, “Mazurka”, “Polka” and “Quadrille”.

“Titoli” offers a magnificent score highlight where Rota captures the film’s beating heart. We open with a grand sweeping statement of the Fate Theme empowered by horns dramatico, which supports the roll of the opening credits. A pastorale of woodwinds supports the display of the film title against the Donnafugata country estate of Don Fabrizio. A bridge by strings appassionato usher in a reprise of the Fate Theme at 0:31. At 0:42 French horns introduce Don Fabrizio’s Theme as we view the estate gardens. There is a wistfulness to the notes as the melody is transferred to oboe and then to strings. A breath-taking ascent by strings appassionato at 1:12 ushers in a prelude by woodwinds tranquillo from which arises the aching Love Theme so full of yearning. We conclude at tenderly at 2:42 with the Sicilian Theme by oboe delicato and kindred woodwinds “Prayer Service” reveals Don Fabrizio and his family participating in prayer services at the family estate. The service is interrupted by news that a soldier had been found dead in the garden, and that Palermo was in chaos following the invasion by Piedmont forces, as well as news that Garibaldi’s Republicans were marching east from Marsala. The scene was unscored.

In “Passeggiata Notturna” Don Fabrizio and Father Pirrone take a carriage into Palermo to assess the situation as he orders the household to prepare for a move to their country estate. We open with the strings spiritoso of the Traveling Theme as we see their arrival in town. At 0:22 Don Fabrizio’s Theme enters as he drops Father Pirrone off at his church, and then departs. The transfer of the melody to strings with an impassioned climax is very moving as he arrives atop the Traveling Theme at a poor tenement at 0:59. His arrival is supported by a tender Don Fabrizio Theme by oboe joined with the string borne Traveling Theme in counterpoint. He is greeted by Hure, who calls him “My Prince” as he kisses her affectionately and ascends to the second floor as she looks about to see if anyone noticed. “Partenza di Tancredi” offers a sublime score highlight with a sumptuous presentation of the Love Theme. It reveals Don Fabrizio the next day shaving at his Palermo estate as Tancredi arrives to inform him of his intent to join Garibaldi’s Republicans. Don Fabrizio is displeased, but understands the passions of youth. As they say their goodbye we are graced with a warm and loving exposition of the Love Theme, which is sustained as Tancredi says goodbye to his relatives on the terrace. At 1:03 the Sicilian Theme joins on solo oboe as Don Fabrizio comes down to gift Tancredi money. At 1:42 a sumptuous reprise of the Love Theme enters as Concetta, Don Fabrizio’s daughter, calls to Tancredi. She loves him, waits for an embrace and kiss, only to have him kiss her gently on the forehead and depart. As the family gathers on the terrace, to watch the brash Tancredi’s carriage departure the Love Theme blossoms for a wondrous exposition.

“Nello Studio” offers a score highlight, which showcases Don Fabrizio’s Theme. The scene reveals an intense conversation between Father Pirrone and Don Fabrizio after he refuses the confessional to confess for his infidelity, instead blaming his overly pious wife. Music enters when the discussion shifts to politics as Don Fabrizio offers a cynical criticism of the church. He laments the inevitability of the coming storm of change, which will end the historic social order. Rota supports with Don Fabrizio’s Theme on horns dolorosa, which transfer to oboe joined by strings di lamento. The confluence of film narrative and music is poignant. “Assalto” supports the Battle of Palermo where we see Garibaldi’s Red Shirts attack the Piedmont forces in fierce close quarters street fighting. The murder of young men in the town who sympathized with the Republicans turns the people against the Piedmont forces and leads to their retreat, and the murder by vengeful crowds of collaborators. Rota supports a montage of several battle scenes with discreet vignettes, which feature bugle militare. We open with a bugle charge, which supports the Red Shirts charging the Piedmont lines. At 00:08 bugle bellicoso supports the Red Shirts closing on the Piedmont lines. At 0:16 a bugle vittorioso carries the Red shirts across the Piedmont lines. At 00:22 a bugle charge supports Piedmont calvary counterattacking. A reprise at 00:31 supports their inglorious retreat. At 0:37 a bugle call supports a new calvary charge against the Red Shirt line, followed by a bugle call at 00:45, which signals the retreat of the Piedmont calvary. A bugle bravura call at 00:53 supports a new charge by the Red Shirts. At 01:07 a bugle militare supports the advance of Piedmont infantry, who are overwhelmed when a second battalion of Red Shirts joins and surrounds them.

“Viaggio a Donnafugata” offers a powerful score highlight with perhaps its most inspired and passionate thematic interplay. The Piedmont forces reform their ranks and counter attack carried by a vigorous martial rendering of the Sicilian Theme. At 0:21 the Fate Theme resounds on grim horns as the Neapolitans force the redshirts to retreat. Timpani usher in an impassioned statement of the Conflict Theme, with interplay of the Sicilian Theme as the redshirts make a desperate retreat into a convent. At 1:03 we change scene where we see Don Fabrizio leading his family’s caravan along a long and winding country road to the safety of their country estate of Donnafugata carried by an extended rendering of his theme, which transfers from strings, to French horns to oboe. A comic rendering of the Conflict Theme enters at 1:33 when Don Fabrizio comments on the poor quality of the roads to a car sick Father Pirrone. The Traveling Theme joins in interplay with Don Fabrizio’s Theme as the long trek continues. An impassioned crescendo commences at 2:25 and launches a formidable Conflict Theme as we see the road is blocked by a redshirt garrison. The commander denies them passage saying all travel passes have been suspended. This results at 3:25 to launching a crescendo of anger by Tancredi who declares he is Captain Tancredi who fought with them at the battle of Palermo. He orders them to remove the barricade and the intimidated men comply. The caravan advances at 4:18 carried by a vigorous exposition of the Conflict Theme, from which swells at 4:45 a grand statement of Don Fabrizio’s Theme as he and his family pass safely.

“Il Sogni del Principe” offers a passage of serenity borne by repeating, statements by French horns as we see the family bedded down and sleeping for the night at a local inn. It would appear that 0:43 – 2:22 was attached to a scene(s), which was edited out of the film. The Conflict theme is prominent with a powerful crescendo that commences at 1:40 and dramatically crests at 1:56. We resume linked to the film at 2:23 with a gentile woodwind pastorale, which joins with the Sicilian Theme while an outdoor lunch picnic site is prepared. At 3:26 we change scene to Tancredi and Concetta at the water station supported by an exquisite exposition of the Love Theme carried by woodwinds delicato. “Giovani Eroi (Marcetta)” offers a flashback in the aftermath of the conquest of Palermo where Tancredi brings home the general meet the family and to view estate’s renown frescos. Cese supports the scene with a light marcia animato. “Don Fabrizio’s Arrival” reveals the amateur village band playing Verdi’s “Gypsy Chorus” from his opera La Traviata (1853) diegetically as the village mayor and townsfolk welcome Don Fabrizio and his family to their country estate. Later in the cathedral Verdi’s aria “Amami Alfredo” is played to support their grand arrival and mass.[9]

“Marcetta Imbarazzata” reprises the marcia animato of the “Giovani Eroi” cue, yet with Cese providing a more comic and playful articulation as it supports the arrival of the unsophisticated Don Calogero’s for dinner in dubious attire. “Entrata di Angelica” offers a beautiful romantic score highlight. It reveals the arrival of Don Calogero’s stunningly beautiful daughter Angelica supported by an exquisite rendering of the Love Theme by solo violin and kindred strings. As she greets Don Fabrizio at 1:01 the Sicilian Theme carried by solo oboe delicato supports his clear reaction of her grace and beauty. We close at 1:32 with a molto romantico reprise of the Love Theme for strings as Angelica and Tancredi lock eyes. “Announcing the Plebiscite Results” reveals the amateur village band again playing Verdi’s “Gypsy Chorus” diegetically as the village mayor announces the plebiscite results. It is early morning and Don Fabrizio and Don Ciccio are out hunting in the countryside. They discuss politics and the vote. When the conversation shifts to the mayor Don Calogero in “Ripresa Marcetta Imbarazzata” Cese reprises his marcia comico as Don Ciccio complains about his mayorship.

“Fine Della Caccia” supports the two Dons again out hunting. Don Fabrizio declares his intention to meet with Don Calogero to secure a match for Angelica and Tancredi. He then informs Don Ciccio that he will have to be locked in with the hunting dogs a few hours to ensure word does not leak out. They return to town supported by Don Fabrizio’s Theme borne by warm French horns draped with woodwinds pastorale. “La signora Sodara” reveals a flashback by Don Ciccio describing how one day he saw the great beauty of signora Sedara, Don Calogero’s wife who is never seen in public except at the 5 am mass. Rota supports with an achingly beautiful statement of the Love Theme. In “Il Principe e Don Ciccio” Don Fabrizio releases Don Ciccio from confinement, which Rota supports with a beautiful exposition of Don Fabrizio’s Theme, which shifts form celli to oboe, to strings, culminating on warm French horns.

“Angelica e Tancredi” offers the score’s supreme romantic highlight. Tancredi has returned home with his friend Cavriaghi, both officers in the new Italian army. He shows Don Fabrizio and the family Angelica’s wedding ring as Cavriaghi, who is smitten with Concetta, presents her a book of poems by his favorite poet. Music enters with Angelica’s arrival as Tancredi welcomes her with an embrace, kiss and then places the wedding ring on her hand. Rota supports her entrance with a molto romantico exposition of the Love Theme. As she savors Tancredi’s embrace the Sicilian Theme joins at 0:36. In a flash change of scene and time, they now embrace in a cobwebbed abandoned mansion. At 1:14 a danza romantico ushers in a crescendo of passion which builds at 2:11 and crests powerfully, bringing a quiver and a tear. In “A Gonfie Vele” Angelica and Tancredi continue to explore the mansion, their love supported by the Love Theme crowned with the Sicilian Theme. “Amore e Ambizione was composed by Felice Montagnini using Rota’s motifs for a flirtatious scene in the mansion between Angelica and Tancredi, but the scene was excised from the film.

“Quasi in Porto” reveals Tancredi expressing his love for Angelica as they lay together clothed in bed. He relates to her lovingly of his decision to not take her until they are married. The string borne Love Theme supports their loving embrace and kiss. In “I Tetti di Donnafugata” Cavriaghi and Concetta spend time together on a street ledge, which overlooks the roofs of the town. Rota supports the intimate moment with a florid statement of the Love Theme. “Dialogo con Chevalley” offers a score highlight with a very poignant confluence of film narrative and music. It reveals Chevalley praising Don Fabrizio’s heritage, bearing and wisdom, and then offering him the post of Senator of Sicily for the new government. We open with a meandering line by strings tristi, which support Don Fabrizio’s declining of the offer. At 0:32 forlorn horns sound the Fate Theme as he reminisces about Sicily. At 0:48 Don Fabrizio’s now wistful and achingly beautiful theme carried by woodwinds, later supplemented by French horns, joins. We bear witness to a beautiful exposition of his theme draped with auras of nostalgia. At 1:50 the Sicilian Theme joins borne by solo oboe doloroso, which expresses his love for a Sicily slipping from his grasp. We conclude on horns tristi, with a coda of Don Fabrizio’s Theme.

In “Il Gattopardo e la Sicilia” Don Fabrizio recommends Don Calogero for Senator, asserting his political skills would make him successful. Chevalley counters that such men have no scruples or vision, which will only sustain the corruption and deprivation of Sicily. Don Fabrizio counters that Sicilians never want to improve as they believe themselves to be perfect, their vanity being greater than their misery. Rota again supports the soliloquy with a wistful rendering of Don Fabrizio’s Theme, beautifully transferred from celli to oboe, to violins, and crowned with the Fate Theme on elegiac horns. “Partenza di Chevalley” reveals Chevalley preparing to depart by carriage. As Don Fabrizio assists him up into the carriage. Rota supports the scene with a plaintive ascending scale of minor modal French horns buttressed by timpani, which usher in at 0:25 a wistful rendering of his theme by strings tristi, as he utters these parting words: “We were the leopards, the lions, those who take our place will be jackals and sheep, and the whole lot of us – leopards, lions, jackals and sheep – will continue to think ourselves the salt of the earth”.

The remaining cues of the score support the Gran Ballo where Rota interpolates the newly discovered waltz by Giuseppe Verdi as well as several dances he composed. The confluence of the Gran Ballo imagery, actor narratives and music are sublime. We open grandly with “Valzer Brillante” where Rota interpolates Verdi’s magnificent waltz. He utilizes it to support an opening shot of men working in the fields, which then transitions to the Gran Ballo held in Don Fabrizio’s palace where we see the large ballroom filled with impeccably dressed dancing couples. Outside, guests and dignitaries are warmly greeted and welcomed. The musical ambiance is perfect. “Mazurka” offers the classic triple meter tempo of the Polish folk dance, which continues to support the Gran Ballo ambiance as Tancredi searches for Angelina. In “Valzer del Commiato” Rota interpolates music from his Appassionatamente score here, and again sustains the ambiance of this extended scene, offering another classic free flowing waltz as Tancredi takes Angelina to the dance floor for some intimate time together. We see them happy together and enjoying the moment. Elsewhere we see Don Fabrizio showing signs of physical pain, which forces him to take a seat and wipe his brow.

“Balletto” offers another original dance composed by Rota, which flows in song form with an incredible lightness of being. We see Angelina and Trancredi enjoying themselves as Don Calogero and Don Fabrizio look on. In a juxtaposition, Don Fabrizio is clearly bothered by physical pain and isolates himself in his study where he takes a drink and a cigar. He is later joined by Angelina and Tancredi who seek his company. Don Fabrizio is contemplative and talks about how death does not frighten him. He unsettles them when he states that they must make some repairs to the family tomb. She changes the subject and affectionately asks him to dance a Mazurka with her, he is thankful, and agrees to a waltz. In “Valzer brillante (alternate 1)” a reprise of the wonderful Verdi Waltz greets their return to the Ball and carries them to the dance floor for an elegant eye-catching dance together. She thanks him for his love and support, but most of all for Tancredi. Don Fabrizio is appreciative and afterwards returns her to Tancredi. “Dinner” reveals Colonel Pallavincino asking Don Fabrizio to join his table, which he does. Don Fabrizio is put off by the Colonel’s pompous self-congratulatory verbiage and war stories, and soon graciously departs. In the powder room Angelina says how she loves the ball and wishes it would never end, while Concetta replies that she does not dance well and does like them. These two scenes are unscored.

“Polka” offers an original composition by Rota. The lively up-tempo dance known for its short half-steps again resumes the festive Gran Ballo’s ambiance as the guests finish dining. “Quadriglia” is an original composition by Rota. It offers the traditional courtly dance of couples in opposing lines that was popular in 19th century Europe. It plays as Tancredi tells Angelica that he agrees with Colonel Pallavincino that they must use force to ensure law and order in the new Republic. This distresses Concetta causing her to leave in tears, as Angelina confides that she is still in love with him. He then turns to her and asks, are you? Angelina answers yes and they embrace in a long passionate kiss, which is interrupted when the dancing extends into their room. The dance supports the flow of a long line of happy dancers meandering through the house. In “Galop” Rota again interpolates music from Appassionatamente. Guests are departing and a very fast paced and festive dance brings the end to a wonderful evening. Tancredi searches the house for Don Fabrizio and eventually finds him putting on a jacket and scarf. He states that he has a headache and is going out for a walk to take in some fresh air. In “Finale” we see that Don Fabrizio is a man weary of life. He beseeches the heavens: “O faithful star… when will you give me an appointment less ephemeral, far from all this, in your own region of perennial certitude”? The film concludes with him walking into an alley where he is consumed by its darkness. Rota supports his walk into the past with a molto romantico rendering of his theme, which crests with a glorious flourish. Bravo!

I wish to thank Jose M. Benitez, Claudio Fuiano, and Quartet Records for providing the long sought complete score to Nino Rota’s masterpiece Il Gattopardo. The remastering of the original monaural first-generation tapes offers a good listening experience. The reader is advised that the audio quality, while good, does not achieve current industry new recording or re-recording qualitative standards, despite this, the genius of Rota is not lost. In addition, the album also presents several cues in stereo. Director Luchino Visconti fell in love with Rota’s unpublished “Sinfonia Sopra Una Canzona” and so what we have is a masterful deconstruction of the symphony by Rota and repurposing of its timeless melodies for his score. The four primary themes masterfully grasped the heart of Visconti’s narrative allowing him to realize his vision. Don Fabrizio was a man caught straddling past and future. He was unable to accept the implacable incoming tide of history, preferring instead to embrace the old ways succumbing to modernity. His fleeing to his ancestral home in the interior of Sicily is allegorical for his futile attempt to retreat into the past and preserve the old ways. Rota’s wistful theme bathes us in auras of nostalgia and speak to the heartache of a man clinging to a grand hierarchical era of privilege succumbing to a new egalitarian order. The Love Theme, which permeates the film, is sumptuous, abounding with passion. Rota’s decision to apply it both personally and transpersonally was brilliant and provided the film with a grand romantic sweep, which enhanced its narrative. The grim resonance of the Fate Theme was masterful in its conception, fully embodying the implacable, irresistible and inevitable tide of modernity sweeping away to old order. The Sicilian Theme captured the enduring beauty and richness of Sicilian cultural, often joining in wondrous synergy with Don Fabrizio’s and the Love Theme. The film’s extended finale, which supported the magnificence of the Gran Ballo was masterfully executed with the premier of Giuseppe Verdi’s lost Valzer Brilliante, joined with several of Rota’s own dance compositions. This supremely romantic score offers one of the finest in Rota’s canon. In scene after scene Visconti’s narrative was enhanced and empowered, elevating his film to the sublime. I consider this one of the finest scores of the Silver age and recommend you consider it for purchase as an essential film score.

For those of you unfamiliar with the score, I have embedded a YouTube link to a magnificent 15-minute suite; https://www.youtube.com/watch?v=I3eXu5jF-2o

Buy the Il Gattopardo soundtrack from the Movie Music UK Store

Track Listing:

  • Titoli (3:05)
  • Passeggiata Notturna (1:45)
  • Partenza di Tancredi (2:32)
  • Nello Studio (1:43)
  • Viaggio a Donnafugata (5:19)
  • I Sogni Del drincipe (4:32)
  • Giovani Eroi (Marcetta) (0:58)
  • Marcetta Imbarazzata (Alternate) (0:58)
  • Entrata di Angelica (2:03)
  • Ripresa Giovani Eroi (0:28)
  • Ripresa Marcetta Imbarazzata (0:29)
  • Fine Della Caccia (0:50)
  • La Signora Sodara (0:51)
  • Il Principe e Don Ciccio (0:50)
  • Angelica e Tancredi (2:43)
  • A Gonfie Vele (0:54)
  • Amore e Ambizione (1:36)
  • Quasi in Porto (0:40)
  • I Tetti di Donnafugata (0:28)
  • Dialogo Con Chevalley (2:32)
  • Il Gattopardo e la Sicilia (1:03)
  • Partenza di Chevalley (1:00)
  • Valzer Brillante (2:36)
  • Mazurka (1:49)
  • Valzer del Commiato (4:02)
  • Balletto (4:24)
  • Polka (1:39)
  • Quadriglia (2:38)
  • Galop (1:39)
  • Finale (0:48)
  • Valzer Brillante (Alternate 1) (2:53) BONUS
  • Accordatura (4:38) BONUS
  • Assalto (1:25) BONUS
  • Titoli di testa/Viaggio a Donnafugata (8:15)
  • Angelica e Tancredi (4:41)
  • I Sogni del Principe/Giovani Eroi/Partenza di Tancredi/Amore e Ambizione/Quasi in Porto (10:38)
  • Mazurka (1:49)
  • Controdanza (Balletto) (3:42)
  • Valzer Brillante (2:35)
  • Polka (1:39)
  • Quadriglia (2:38)
  • Galop (1:39)
  • Valzer del Commiato (4:02)
  • Titoli (3:08) STEREO BONUS
  • Passeggiata Notturna (1:45) STEREO BONUS
  • Nello Studio (1:42) STEREO BONUS
  • Marcetta Imbarazzata (1:42) STEREO BONUS
  • A Gonfie Vele (0:54) STEREO BONUS
  • I Tetti di Donnafugata (0:28) STEREO BONUS
  • Dialogo con Chevalley (2:32) STEREO BONUS
  • Partenza di Chevalley (0:59) STEREO BONUS
  • I Gattopardo e la Sicilia (1:03) STEREO BONUS
  • Valzer Brillante (alternate 2) (2:47) STEREO BONUS
  • Finale (0:49) STEREO BONUS
  • Capriccio Italien (written by Piotr Ilyich Tchaikovsky) (5:13) STEREO BONUS

Running Time: 130 minutes 23 seconds

Quartet Records QR-327 (1963/2018)

Music composed by Nino Rota. Conducted by Franco Ferrara. Performed by the Orchestra Sinfonia di Santa Cecelia. Orchestrations by Nino Rota. Additional music by Italo Delle Cese and Felice Montagnini. Score produced by Nino Rota. Album produced by Jose M. Benitez and Claudio Fuiani.

  1. Robert Lim
    July 26, 2021 at 4:49 am

    This is a wonderful issue and restores many missing cues to circulation. However, no-one has answered the question as to why the film was released with a mono soundtrack in both the original Italian and English versions. As far as I am aware, all the music (except for the ball sequence) was recorded in 3-channel stereo at RCAs then-new and state of the art Rome Studios, and both the Technirama and Cinemascope formats are capable of up to 4 independent sound channels.

    Anyone able to answer this?


    Bob Lim

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