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Track Listings
| 1. Addio Di Elsa | |||
| 2. Ladies | |||
| 3. Orfanotrofio | |||
| 4. Matrigna | |||
| 5. Carrozzella | |||
| 6. Andando A Scuola | |||
| 7. Camicie Nere Agli Uffizi | |||
| 8. Tea Trolley | |||
| 9. Dichiarazione Di Guerra | |||
| 10. Luca Torna A Casa | |||
| 11. Appare Il Cane | |||
| 12. Cresci Luca | |||
| 13. Ebrea | |||
| 14. Luca In Biciletta | |||
| 15. Scorpioni | |||
| 16. Partita | |||
| 17. No John | |||
| 18. No Tea | |||
| 19. Autobus | |||
| 20. Ordinanza | |||
See all 22 tracks on this disc
| |||
Product Description
Amazon.co.uk Review
The tea being taken is unquestionably English, despite the Italian setting. At times building from St Trinian's comic lightness into a sort of Merchant-Ivory carnival ("Ordinanza"), the listener might catch themselves pondering where a line may have been drawn between sincere genre conformity and pastiche. The piano dominates the score from the second cue, "Ladies". Mixed so prominently, some cues play out as mini spotlight concertos ("Camicie Nere Agli Uffizi"). In stark contrast are two darkly dramatic pieces, which are jarringly at odds with the cues before and after. "Luca In Biciletta" is the easier going of the two, with the other score voice--woodwinds--bringing out some warmth. "Autobus", however, is a moment of high drama straight out of the Batman franchise (with a motif to match). Another unscheduled musical stop is "No John", a raunchy zoot band number suited to leg-kicking stage artistes. When it's all over there's the lingering feeling of having attended a nineteenth-century garden party, but like yourself, there have been some inappropriate gatecrashers. --Paul Tonks
The tea being taken is unquestionably English, despite the Italian setting. At times building from St Trinian's comic lightness into a sort of Merchant-Ivory carnival ("Ordinanza"), the listener might catch themselves pondering where a line may have been drawn between sincere genre conformity and pastiche. The piano dominates the score from the second cue, "Ladies". Mixed so prominently, some cues play out as mini spotlight concertos ("Camicie Nere Agli Uffizi"). In stark contrast are two darkly dramatic pieces, which are jarringly at odds with the cues before and after. "Luca In Biciletta" is the easier going of the two, with the other score voice--woodwinds--bringing out some warmth. "Autobus", however, is a moment of high drama straight out of the Batman franchise (with a motif to match). Another unscheduled musical stop is "No John", a raunchy zoot band number suited to leg-kicking stage artistes. When it's all over there's the lingering feeling of having attended a nineteenth-century garden party, but like yourself, there have been some inappropriate gatecrashers. --Paul Tonks