Piero Piccioni
Piero Piccioni was an Italian film score composer.
A pianist, organist, conductor, and composer, he was also the prolific author of more than 300 film soundtracks. He played for the first time on radio in 1938 with his "013" Big Band, to return on air only after the Allied liberation of Italy in 1944. "013" was the first Italian jazz band to be broadcast in Italy after the fall of Fascism.
Early life
Piero Piccioni was born in Turin, Piedmont. His mother's maiden name was Marengo, hence his pseudonym Piero Morgan, which he adopted until 1957.When he was growing up, his father Attilio Piccioni, would frequently take him to hear concerts at the EIAR Radio Studios in Florence. Having listened to jazz throughout his childhood and attending studies at the Conservatorio Luigi Cherubini, Piero Piccioni became a musician.
Career
Piccioni made his radio debut at 17 with his 013 Big Band in 1938, but only returned on air after the liberation of Italy in 1944. His 013 was the first Italian jazz band to be broadcast in Italy after the fall of Fascism.He began writing songs of his own and was soon able to get some of his works published by Carisch editions.
Piero Piccioni came into contact with the movie world in Rome during the fifties, when he was a practicing lawyer securing movie rights for Italian producers such as Titanus and De Laurentiis. During that time, Michelangelo Antonioni had called Piccioni to score a documentary film directed by Luigi Polidoro, one of his apprentices. Piccioni's first score for a feature film was Gianni Franciolini's Il mondo le condanna. He consequently changed his lawyer's "toga" for a conductor's baton. He developed close-knit working relationships with directors Francesco Rosi and Alberto Sordi, and established strong personal and professional bonds with them.
Many directors sought Piero Piccioni to score the soundtracks for their films: Francesco Rosi, Mario Monicelli, Alberto Lattuada, Luigi Comencini, Luchino Visconti, Antonio Pietrangeli, Bernardo Bertolucci, Roberto Rossellini, Vittorio De Sica, Lina Wertmuller, Tinto Brass, Dino Risi, and others.
His film scores include Il bell'Antonio, Contempt, The 10th Victim, More Than a Miracle, The Deserter, The Light at the Edge of the World, Puppet on a Chain, Lucky Luciano, Camille 2000, The Nun and the Devil, Swept Away, Christ Stopped at Eboli, Fighting Back, and many Alberto Sordi movies. He is credited with over 300 soundtracks and compositions for radio, television, ballets and orchestra. Among his favorite vocalists were female soul singer Shawn Robinson and Edinburgh-born Lydia MacDonald.
Awards and legacy
Piccioni won many prestigious prizes including the David di Donatello Award for the movie Swept Away, Nastro d'argento Award for the movie Salvatore Giuliano by Francesco Rosi, Prix International Lumière 1991, Anna Magnani Award 1975 and Vittorio De Sica Award 1979.His song "Traffic Boom" was featured as the song for the fictional Logjammin' movie-within-a-movie in The Big Lebowski.
The song "It's Possible" from "Il Dio Sotto la Pelle" was sampled by Hollywood JB for DJ Khaled's "Jermaine's Interlude" on his Major Key album featuring J Cole, as well as on Isaiah Rashad's Headshots, and Lucki's "Waiting On". Many other samples have been used from his vast body of work in recent years, especially from Camille 2000, Amore Mio Aiutami, Il Dio Sotto la Pelle, Anna Karenina and Colpo Rovente, among others.
His music is compiled into playlists in all platforms and is extensively sampled by the lo-fi community.
In 1953 Piccioni was falsely implicated in the Montesi scandal, after a conspiracy designed to force the resignation of his father Attilio from the highest positions in the government. On dubious information, journalists spun fabrications that he had been present, close to a villa near a beach where a girl was found drowned, allegedly after a party.
Piccioni was acquitted in Venice in 1957 together with others after lengthy trials and tribulations, and his accusers were eventually sentenced for slander and calumny. To this day this case is known in Italy as one of the first events in post war history where 'la macchina del fango' or the mud machine' was used as a means for political régime change.