There are several ways to musically approach a period drama. One is to provide a timeless, "universal" sound that captures the essence of the subject matter. Another is to go with time-specific instrumentation, which may result in a higher degree of realism. Marco Werba's score for this recent italian epic takes the latter route. Werba's music bears an unmistakable resemblance to Ennio Morricone and minimalists like Philip Glass and Michael Nyman (with whom he has worked). Elegant melodies and repeated tone-clusters. It's a score that nails its period through trademark instruments such as harpshicord, flutes, harp and regal brass, yet adds a somewhat contemporary sound through a wailing soprano voice and dramatic chorus.

Kicking off on a rather downbeat note, "The Witch at Stake" introduces us to the solo voice proclaiming "Miserere, non nobis" before succumbing to a groaning choir. "Melissa's Castle", in contrast, presents a fanfarish trumpet melody, evoking baroque nobility. Similar connotations are tied to the beautiful and minor-moded love theme ("Eleonora's Portrait"), defined by solo woodwinds and choir. Authentic folk music slips into "The Village" and "Folk Dance". The latter, while perhaps sounding a bit cheesy by the way of a synthesized drum machine, has an uncanny Philip Glass feel - an organ chiming away on a regular drum beat. Somberness returns with regular intervals, such as in "The Spy / The Diary" in which male voices groan  the ubiquitous phrase "Kyrie Eleison" accompanied by brooding low strings; or "Eleonora's Despair", a lamented version of the love theme. Werba's extensive knowledge of renaissance music becomes particularly evident in tracks like "Court Ball", a typically jaunty Henry Purcell affair. "Marianna's Theme" is a lovely little tune for solo guitar and flute, halted midway by trembling strings and harp. Like Patrick Doyle and Bernard Herrmann before him, Werba frequently utilizes the "chord-stop" effect, i.e. a sudden chord outburst followed by immediate silence, then another outburst in a slightly different key. This is most evident in the "Assault on the Castle" track.

"Requiem in G Minor" is a self-contained piece that is actually an extension and elaboration of the love theme. It literally soars with aching beauty, and boosts in emotional impact as it is supplemented by layers of solo instruments (primarily flute) and choir, reaching a coda initated by solo violin and soprano, before returning to the flute variation of the theme.

"Love Was Fatal to Me" is yet another version of the love theme, this time with lyrics. Two things need to be said of these lyrics (by Adriana Brown): Firstly, the syllables are somewhat out-of-synch with the actual melody, causing certain syllables (and words, even) to be swallowed. Second, they can - content-wise - be said to be a tad on the clichéed side. However, the melody is so beautiful and the vocal performance so genuine that they overshadow these small obstacles.

The Castalia Symphony performs amiably, although there is the occasional screw-up (like the flute miss in "Eleonora's Despair"). The orchestra and choir are frequently supplemented by electronic effects and digital sounds, but never to the extent of being intrusive or over-powering. Subtle and restrained.

Il Conte de Melissa is a wonderful, quintessentially European score that showcases Werba's talent for melody and proper orchestration. If you like Ennio Morricone, Zbigniew Preisner or Michael Nyman, this is for you. It is certainly spellbinding with its rustic charm.

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CD INFO:

Prod. nr.: Hexacord RDHCDO5

Music composed and orchestrated by:

Marco Werba

Recorded and mixed at:

The Diapason Recording Studio (Rome)

Performed by:

The Castalia Symphony Orchestra

(conducted by Claudio Luongo)

The Polyphonic Roman Choir

(conducted by Marco Werba)

Solo voice: Antonella Neri

"Love Was Fatal To Me"

composed by Marco Werba

Lyrics by Adriana Brown

 Licensed by:

 SINFONICA Edizioni Musicali