There are few World film composers that can boast the prolificacy of Piero Piccioni. Since the early 1950s, Piccioni has been a truly innovative composer of film music. In the 1950s he composed under the pseudonym of Piero Morgan, and since his first soundtrack Il Mondo Le Condanna of 1952, many directors sought Piero Piccioni to score the soundtracks for their films: Luchino Visconti, Bernardo Bertolucci, Vittorio De Sica, Roberto Rossellini, Elio Petri, Francesco Rosi, Mario Monicelli, Alberto Lattuada, Alberto Sordi, Luigi Comencini, Antonio Pietrangeli, Lina Wertmuller, Tinto Brass, Dino Risi, are just some of the great directors for whom he scored more than 300 wondrous soundtracks. Swept Away, Le Mani sulla città’, Camille 2000, Colpo Rovente, The 10th Victim, Amore mio aiutami, More Than a Miracle, The Light at the Edge of the World, Puppet on a Chain, Lucky Luciano, Cristo si è fermato a Eboli, Anna Karenina, Finché c’è guerra c’è speranza, Viaggio con papà, Fumo di Londra are just a few gems among many more. With great versatility, Piccioni incorporates jazz, funk, fusion, bossa, classical and contemporary 20th Century symphonic elements into his kaleidoscopic sounds which have been the lush sonic backdrop for everything from psychedelic, political, thriller, horror, romantic, comedy, western, classic novel adaptations, mythological, historic and epic film productions of the golden age of Italian and international cinema spanning four decades.
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