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Chico Buarque de Hollanda - Per un pugno di samba

Vinyl-LP RCA LSP34085 - Italy - 1970


Go to the Movie page Invalid selection for the current record Go to the Missing page
Other editions:
Side 1
1/1. 3:25 --- Rotativa (1970)
1/2. 3:53 --- Samba e amore (1970)
1/3. 2:30 --- Sogno di un carnevale (1970)
1/4. 3:05 --- Lei no, lei sta ballando (1970)
1/5. 2:52 --- Il nome di Maria (1970)
1/6. 3:25 --- Funerale di un contadino (1970)
Side 2
2/1. 3:06 --- In te (1970)
2/2. 3:44 --- Queste e quelle (1970)
2/3. 2:58 --- Tu sei una di noi (1970)
2/4. 3:12 --- Nicanor (1970)
2/5. 4:51 --- In memoria di un congiurato (1970)
2/6. 1:47 --- Ed ora dico sul serio (1970)
Total Time:  38:48

Credits
Chico Buarque de Hollanda Composer Lyrics Vocals; Ennio Morricone Arranger Conductor; Sergio Bardotti Lyrics;
Except:
1/6: Chico Buarque de Hollanda Composer Lyrics Vocals; Joao Cabral de Melo Neto Composer; Ennio Morricone Arranger Conductor; Sergio Bardotti Lyrics;

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Member Detailed Credits
‣15/10/2020 Bob Hendrikx Notes on LP: CHICO BUARQUE, PER UN PUGNO DI SAMBA (1970) (Part 1)
Composer, Vocals (all tracks): Chico Buarque (full name: Francisco Buarque de Hollanda) (1944-)
Lyricist (all tracks): Sergio Bardotti (1939-2007) link
Additional authors credited for track A6: Francesco Panvini Rosati and João Cabral de Melo Neto (1920-1999)
Orchestrator, Conductor (all tracks): Ennio Morricone (1928-2020)
Choir (tracks A3, A4, A6, B2, B3, B4, B5): I Cantori Moderni di Alessandroni (4+4, 8+8, 16+16)
Voice (A3, A4): Edda Dell'Orso (1935-)
Vocals (A4): Mia Martini (1947-1995) (sister of Loredana Bertè)
Vocals (A4): Loredana Bertè (1950-) (sister of Mia Martini)
Guitar: Irio De Paula (1939-2017) link
Organs (Thomas 900, Pipe, Hammond) (A1, B2, B5, B6): Giorgio Carnini (Maestro #14, page 56)
Recorded between 11 May and 12 July 1970 at Studios A, B and D of RCA Italiana, Rome.
(back cover of 1970 LP)

3:22 – A1 – Rotativa
3:51 – A2 – Samba e amore
2:26 – A3 – Sogno di un carnevale
3:04 – A4 – Lei no, lei sta ballando – Play: mp3
2:40 – A5 – Il nome di Maria
3:22 – A6 – Funerale di un contadino – Play: mp3
3:05 – B1 – In te
3:39 – B2 – Queste e quelle – Play: mp3
2:56 – B3 – Tu sei una di noi
3:07 – B4 – Nicanor
4:43 – B5 – In memoria di un congiurato – Play: mp3
1:46 – B6 – Ed ora dico sul serio
Released on LP:
Per un pugno di samba – RCA Italiana/Victor LSP 34085 – Italy – September 1970 link
Back cover: jpg
"Numero di catalogo LSP 34085 – Anno 09-1970" link


‣15/10/2020 Bob Hendrikx Notes on LP: CHICO BUARQUE, PER UN PUGNO DI SAMBA (1970) (Part 2)
The same 12 tracks released on CD:
Per un pugno di samba – BMG/RCA 74321945712 – Brazil – 2003 link
Back: jpg

Other editions: link

Ennio Morricone: "My mother was worried about the experiments I was into when I was a student. She told me, 'Ennio, what you write must be catchy, otherwise people won't understand you'. 'Catchy' was a vulgar expression to me, but over the years I've come to realize what she meant. …
In arranging the album I overdid it a little with the experiments. I adopted several unconventional solutions, such as 'dirtied' harmonies produced through pointillist gestures of the strings or specific entrances of the vocalists. Songs like 'Il nome di Maria' and 'In te' feature less obvious solutions, whereas in 'Tu sei una di noi' I inserted a twelve-tone row in a completely tonal context. Yet I believe that 'Lei no, lei sta ballando', in which I used a seven-tone row, is the song most representative of the subject we're dealing with, because of its balance between catchiness and novelty, between the familiar and the unusual. …
At any rate, the album didn't sell well and it took twenty years until it received the recognition it deserved. Just consider that even Buarque had to rehearse extensively because the arrangements were too complex, too distracting for him and he didn't know when to enter. On my part, I had warned him, 'Beware, if you ask me to be your arranger, I'll do what I want. If you want Brazilian stuff, go to Brazil.' Moreover, I followed a personal rule: I took more liberty in experimenting with the long-playing albums than with the singles. This was because the LP was considered an elite, more sophisticated product, while the 45rpm singles were intended for a more generic public." (In His Own Words, pages 185, 186)


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