hello friends!
i am pleased maestro rustichelli’s work on ‘una donna alla finestra’ is the last post on the frozen sub-forum. some lovely music from the golden age, and in my opinion a good test case for the question at hand.
yes, the non-library sub-forum was a bit of a dumpster fire. administratively speaking, it might make sense to cut it loose and tighten LMT’s identity. but I rarely frequent the section and have little at stake; other users should weigh in.
in defense of the NL sub posters' intentions, someone mentioned the dearth of new, authentic library music that can be contributed as a possible explanation for the frenetic posting. i empathize. if, for example, you collect golden age italian library gems, enter rocco. rocco is the only user sharing new italian library music. new music, not 'lossless ugrade' music.
in defense of the rustichelli score, maybe outright banishing film scores isn’t the best way forward. I recall a little record called atmosfera that still hasn’t physically surfaced on the market, despite the respectable four flies lp rerelease in 2017 and subsequent digital drop. An invaluable library grail in 2016, yet just another non-library reissued soundtrack in 2017?
now, speaking against the rustichelli score, maestro Carlo appears to have exclusively taken paid career gigs. I don’t see any library credits to his name, whereas many of his peers have numerous. I believe this may be one critical distinction, as someone also mentioned above.
library music? take for example the CAM label we know and love so much. CAM's soundtrack label branched into a bonafide “library” record label project, envisioned and executed by italian creatives, academics, and producers with the goal of educating future generations of fledgling musical artists on “genre, organico, e carattere e possibilita di applicazione.” instructional records for public libraries: the social production of "materiel educatif" (note: the KPM merger and the early green records w/ "remarks" in 1966, which predate the CAM genre/instruments/applications).
on education, i would say rocco's descriptions often delve into music theory. the associated artists are almost always academic theorists as well as teachers, composers, and performers. if you read italian, many of these composers and their compatriots have penned essays that may elucidate some of their post-war theoretical approaches to musical composition. 'i suoni della guerra,' for example, my speciality.
geo
