Piero Piccioni

One of the most prolific composers from the golden age of Italian film soundtracks, Piero Piccioni scored nearly 200 films between 1953 and 1998. Although Piccioni had grown up in a musical family, and had even formed ... Read more »
Born: 12/06/1921

Filmography

Music (73)

American Hustle 2013 (Movie)

("La Chatte A La Satie") (Song Performer)

American Hustle 2013 (Movie)

("La Chatte A La Satie") (Song)

Silver Linings Playbook 2012 (Movie)

("Amore A Forza") (Song Performer)

Silver Linings Playbook 2012 (Movie)

("Amore A Forza") (Song)

Mafioso 2007 (Movie)

(Music)

The Big Lebowski 1998 (Movie)

(Song)

Forbidden Encounters 1997 (Movie)

(Music)

Nestore L'Ultima Corsa 1992 (Movie)

(Music)

Assolto Per Aver Commesso il Fatto 1991 (Movie)

(Music)

Comprarsi la Vita 1990 (Movie)

(Music)

L' Avaro 1990 (Movie)

(Music)

Chronicle of a Death Foretold 1988 (Movie)

(Music)

Un Tassinaro a New York 1987 (Movie)

(Music)

Appassionata 1985 (Movie)

(Music)

Sono un Fenomeno Paranormale 1985 (Movie)

(Music)

Tutti Dentro 1983 (Movie)

(Music)

Il Tassinaro 1982 (Movie)

(Music)

In Viaggio Con Papa 1982 (Movie)

(Music)

Fighting Back 1981 (Movie)

(Music)

Io So Che Tu Sai Che Io So 1981 (Movie)

(Music)

I Tre fratelli 1979 (Movie)

(Music)

Io e Caterina 1979 (Movie)

(Music)

Il Malato Immaginario 1978 (Movie)

(Music)

Cristo si e Fermato a Eboli 1977 (Movie)

(Music)

Le Temoin 1977 (Movie)

(Music Arranger)

Le Temoin 1977 (Movie)

(Music)

Cadaveri Eccellenti 1976 (Movie)

(Music)

Quelle Strane Occasioni 1975 (Movie)

(Music)

Cuore Di Cane 1974 (Movie)

(Music)

Finche C'e Guerra C'e Speranza 1973 (Movie)

(Music)

Tutto a Posto e Niente In Ordine 1973 (Movie)

(Music)

Lucky Luciano 1972 (Movie)

(Music)

Polvere di Stelle 1972 (Movie)

(Music)

Storia di Una Monaca di Clausura 1972 (Movie)

(Music)

Le Monache di Sant'Archangelo 1971 (Movie)

(Music)

Lo Scopone Scientifico 1971 (Movie)

(Music)

The Light at the Edge of the World 1971 (Movie)

(Music)

The Mattei Affair 1971 (Movie)

(Music)

Il Generale Dorme in Piedi 1970 (Movie)

(Music)

Jack, El Destripador De Londres 1970 (Movie)

(Music)

La Spina Dorsale del Diavola 1970 (Movie)

(Music)

Marta 1970 (Movie)

(Music)

Puppet on a Chain 1970 (Movie)

(Music)

Ciao Gulliver 1969 (Movie)

(Music)

Giovinezza Giovinezza 1969 (Movie)

(Music)

The Witches 1969 (Movie)

(Music)

Cinderella - Italian Style 1966 (Movie)

(Music)

The Stranger 1966 (Movie)

(Music)

Matchless 1965 (Movie)

(Music)

Contempt 1964 (Movie)

(Italian version) (Music)

I Tre Volti 1964 (Movie)

(Music)

The Moment of Truth 1964 (Movie)

(Music)

The Tenth Victim 1964 (Movie)

(Music)

Tre Notti d'Amore 1964 (Movie)

("La Moglie Bambina") (Music)

Hands Across the City 1962 (Movie)

(Music)

Il Bell'Antonio 1962 (Movie)

(Music)

Il Bell'Antonio 1962 (Movie)

(Music Conductor)

Il Diavolo 1962 (Movie)

(Music)

La Notta Brava 1961 (Movie)

(Music)

Salvatore Giuliano 1961 (Movie)

(Music)

Senilita 1961 (Movie)

(Music)

The Grim Reaper 1961 (Movie)

(Music)

The Love Makers 1961 (Movie)

(Music)

A Strange Day 1960 (Movie)

(Music)

The Lady Killer of Rome 1960 (Movie)

(Music)

Love A La Carte 1959 (Movie)

(Music)

The Hunchback of Rome 1959 (Movie)

(Music)

The Tempest 1958 (Movie)

(Music)

Biography

One of the most prolific composers from the golden age of Italian film soundtracks, Piero Piccioni scored nearly 200 films between 1953 and 1998. Although Piccioni had grown up in a musical family, and had even formed one of Italy's first jazz orchestras prior to World War II, the Turin native was working as a lawyer in Rome in the early 1950s when he first came into contact with the thriving postwar film industry; noted director Michelangelo Antonioni suggested he provide a jazz score for a friend's documentary. From that casual beginning, Piccioni quickly became nearly as much in demand as his contemporaries Ennio Morricone and Piero Umiliani. His jazz background, which quickly grew to include a strong bossa nova element as that Brazilian style became internationally popular in the early 1960s, strongly colors his scores, making his style reminiscent of American contemporaries like Nelson Riddle and Henry Mancini; though many of the films he scored are at best charming period pieces, his soundtrack albums garner a high price on the collectors' market, and even many of his most obscure film scores have been reissued or bootlegged over the years. His career highlights include a special Italy-only score for Jean-Luc Godard's "Contempt", the Peter Sellers caper comedy "After the Fox" (incongruously directed by former neo-realist master Vittorio de Sica), and Lena Wertmuller's 1975 masterpiece "Swept Away".

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