About Nino Rota Like other great film composers, Nino Rota found ways of creating new hybrid sounds by borrowing stylistic and instrumental devices from a variety of existing genres. Though he did some work writing symphonies and operas, this Italian is probably best known for his scores for the first two Godfather movies and for his longtime collaboration with director Federico Fellini. Enhancing films such as 8 1/2, Amarcord, and La Dolce Vita, Rota provided sweeping string arrangements alongside his own brand of lightly swinging small combo jazz. Even when removed from its original context and heard in the form of brief, isolated cues, Rota's music retains its singular presence as it alternates between romantic, anxious, carefree, and sentimental moods.

Like other great film composers, Nino Rota found ways of creating new hybrid sounds by borrowing stylistic and instrumental devices from a variety of existing genres. Though he did some work writing symphonies and operas, this Italian is probably best known for his scores for the first two Godfather movies and for his longtime collaboration with director Federico Fellini. Enhancing films such as 8 1/2, Amarcord, and La Dolce Vita, Rota provided sweeping string arrangements alongside his own brand of lightly swinging small combo jazz. Even when removed from its original context and heard in the form of brief, isolated cues, Rota's music retains its singular presence as it alternates between romantic, anxious, carefree, and sentimental moods.

Like other great film composers, Nino Rota found ways of creating new hybrid sounds by borrowing stylistic and instrumental devices from a variety of existing genres. Though he did some work writing symphonies and operas, this Italian is probably best known for his scores for the first two Godfather movies and for his longtime collaboration with director Federico Fellini. Enhancing films such as 8 1/2, Amarcord, and La Dolce Vita, Rota provided sweeping string arrangements alongside his own brand of lightly swinging small combo jazz. Even when removed from its original context and heard in the form of brief, isolated cues, Rota's music retains its singular presence as it alternates between romantic, anxious, carefree, and sentimental moods. About Nino Rota Like other great film composers, Nino Rota found ways of creating new hybrid sounds by borrowing stylistic and instrumental devices from a variety of existing genres. Though he did some work writing symphonies and operas, this Italian is probably best known for his scores for the first two Godfather movies and for his longtime collaboration with director Federico Fellini. Enhancing films such as 8 1/2, Amarcord, and La Dolce Vita, Rota provided sweeping string arrangements alongside his own brand of lightly swinging small combo jazz.

Even when removed from its original context and heard in the form of brief, isolated cues, Rota's music retains its singular presence as it alternates between romantic, anxious, carefree, and sentimental moods.

Nino Rota’s score for Fellini’s masterpiece, Amarchord, is one of those rare creations in movie soundtrack — music that perfectly fits the movie. Rarely has a soundtrack so closely matched the spirit of the movie it supports. Fellini’s movie is a remembrance, and like all remembrances it is imperfectly recalled. Aug 04, 2010 Amarcord theme - Nino Rota fran25. R.Molinelli: 'Nino Rota Suite' (La strada, Il Padrino, Amarcord.

Nino Rota (left) Born Giovanni Rota Rinaldi 3 December 1911, Italy Died 10 April 1979 ( 1979-04-10) (aged 67), Italy Occupation Composer Children Nina Rota (daughter) Giovanni ' Nino' Rota (3 December 1911 – 10 April 1979) was an Italian, pianist, conductor and academic who is best known for his, notably for the films of and. He also composed the music for two of 's films, and for the first two films of 's trilogy, receiving the for for (1974). During his long career Rota was an extraordinarily prolific composer, especially of music for the cinema. He wrote more than 150 scores for Italian and international productions from the 1930s until his death in 1979—an average of three scores each year over a 46-year period, and in his most productive period from the late 1940s to the mid-1950s he wrote as many as ten scores every year, and sometimes more, with a remarkable thirteen film scores to his credit in 1954.

Alongside this great body of film work, he composed ten, five and dozens of other orchestral, choral and chamber works, the best known being his string concerto. He also composed the music for many theatre productions by Visconti, Zeffirelli and as well as maintaining a long teaching career at the Liceo Musicale in, Italy, where he was the director for almost 30 years. Rota at age 12.

Giovanni Rota was born into a musical family in. Rota was a renowned child prodigy—his first, L'infanzia di San Giovanni Battista, was written at age 11 and performed in Milan and Paris as early as 1923; his three-act lyrical comedy after, Il Principe Porcaro, was composed when he was just 13 and published in 1926. He studied at the Milan conservatory there under and then undertook serious study of composition under and at the in, graduating in 1930. Encouraged by, Rota moved to the United States where he lived from 1930 to 1932. He won a scholarship to the of, where he was taught conducting by and had as an instructor in composition. Returning to Milan, he wrote a thesis on the composer.

Rota earned a degree in literature from the University of Milan, graduating in 1937, and began a teaching career that led to the directorship of the Liceo Musicale in, a title he held from 1950 until 1978. Film scores [ ] In his entry on Rota in the 1988 edition of The Concise Baker's Biographical Dictionary of Composers and Musicians, music scholar described Rota as 'brilliant' and stated that his musical style: '. Demonstrates a great facility and even felicity, with occasional daring excursions into.

However his most durable compositions are related to his music for the cinema; he composed the sound tracks of a great number of films of the Italian director Federico Fellini covering the period from 1950 to 1979.' Furthermore, one of his compositional habits in particular came up for disapproving remarks: his penchant for pastiche of various past style, which quite often turned into outright quotation of his own earlier music or even others' music.

One of the most noticed examples of such incorporation is his use of the from 's Opus 22 as a theme for a character in Fellini's. During the 1940s, Rota composed scores for more than 32 films, including 's (1944). His association with Fellini began with (The White Sheik) (1952), followed by (1953) and (The Road) (1954).

They continued to work together for decades, and Fellini recalled: The most precious collaborator I have ever had, I say it straightaway and don't even have to hesitate, was Nino Rota — between us, immediately, a complete, total, harmony. He had a geometric imagination, a musical approach worthy of celestial spheres. He thus had no need to see images from my movies. When I asked him about the melodies he had in mind to comment one sequence or another, I clearly realized he was not concerned with images at all.

His world was inner, inside himself, and reality had no way to enter it. The relationship between Fellini and Rota was so strong that even at Fellini's funeral, Fellini's wife, asked trumpeter to play Rota's Improvviso dell'Angelo in the Basilica di in Rome.

Rota's score for Fellini's (1963) is often cited as one of the factors which makes the film cohesive. His score for Fellini's (1965) included a collaboration with on the song, 'Go Milk the Moon' (cut from the final version of the film), and they teamed again for the song ', part of Rota's score for 's. The ranked Rota's score for #5 on.

His score for was also nominated for the list. In all, Rota wrote scores to more than 150 films. Orchestral, chamber and choral music [ ] Rota wrote numerous concerti and other orchestral works as well as piano, chamber and choral music, much of which has been recorded and released on CD.

After his death from in 1979, Rota's music was the subject of 's 1981, which featured several at the time relatively unknown but now famous jazz musicians. Used some of Rota's music in his 2007 film and director used several Rota selections in the 2005 film. Frequently cites Nino Rota as a major influence. Director filmed a documentary Un amico magico: il maestro Nino Rota which featured interviews with and (a student under Rota at Bari Conservatory), and was followed by a German documentary Nino Rota - Un maestro della musica. Both explored film and concert sides of the composer.

Operas [ ] His 1955 opera ( The Florentine Straw Hat) is an adaptation of the play by and was presented by the in 1977. In 2005 his opera Aladino e la lampada magica ( Aladdin and the Magical Lamp), with Cosmin Ifrim in the title role, was performed in German translation at the and released on DVD. And Aladino e la lampada magica are regularly staged in Europe as are many symphonic and chamber titles Written for a radio production by in 1950, his short opera, ( The Two Timid Ones), was presented by the Santa Fe Opera as part of their pre-season 'One-Hour Opera' program in May/June 2008.

Personal life [ ] Rota has one daughter, Nina Rota, from a relationship with pianist Magda Longari. Death [ ] Rota died from a in Rome, aged 67.

Quotations [ ] recalls his first chance meeting with Rota: 'Outside, I noticed a funny little man waiting in the wrong place for the tram. He seemed happily oblivious of everything. I felt compelled. To wait with him. I was certain that the tram would stop in its regular place and we would have to run for it, and he was equally certain it would stop where he was standing.

To my surprise, the tram did stop right in front of us.' A critic conversing with Nino Rota at the age of eleven just prior to a performance of his oratorio, The Childhood of St. John the Baptist, in 1923: Critic: 'Do you like playing?' Rota: 'Whenever I can. Is it hard to write for a newspaper?'

Critic: 'It's not easy to do a good article' Rota: 'Have you come from Brussels specially to hear my oratorio?' Critic: 'I certainly have, my little friend.' Rota: 'That’s really funny. I won’t be conducting it tonight. Yesterday the double bass snubbed me' On his friendship with: 'Stravinsky was fun; his mind struck sparks.

Age was no barrier - ours became a true friendship, despite distance and meeting ever more rarely.' Nino Rota reflecting on the unhappiness of others: 'When I’m creating at the piano, I tend to feel happy; but - the eternal dilemma - how can we be happy amid the unhappiness of others? I'd do everything I could to give everyone a moment of happiness. That's what's at the heart of my music.'

On Nino Rota: 'He was someone who had a rare quality belonging to the world of intuition. Just like children, simple men, sensitive people, innocent people, he would suddenly say dazzling things. Canon Mf4100 Series Printer Driver Xp. As soon as he arrived, stress disappeared, everything turned into a festive atmosphere; the movie entered a joyful, serene, fantastic period, a new life.' Works [ ] See and Discography [ ] See References [ ]. • ninorota.com • ^. • Nicholas Slonimsky, The Concise Baker's Biographical Dictionary of Composers and Musicians (Simon & Schuster, London, 1988, ), p.

1063 • ^ Slonimsky, p.1063 •. •, Cadrage, April/May 2003 •. • Videtti, Giuseppe., Milano, 20 April 2014. • (2006), The Oxford Dictionary of Music, 985 pages, Further reading [ ] • Richard Dyer.. National Health Programs Of India J Kishore Bopardikar. New York: Palgrave and Macmillan (on behalf of the British Film Institute), 2010.

• Franco Sciannameo.. Scarecrow Press, 2010. • John Simon.. The New Criterion, Vol.

10 / June 2016 External links [ ] Wikimedia Commons has media related to. Wikiquote has quotations related to: • • at • profile • on •.