Mireille Mathieu 132 Albums 1966 2009
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Sometimes described as "France's Frank Sinatra",[9] Aznavour sang frequently about love. He wrote or co-wrote musicals, more than one thousand songs, and recorded ninety-one studio albums. Aznavour's voice was shaded towards the tenor range, but possessed the low range and coloration more typical of a baritone, contributing to his unique sound. Aznavour spoke and sang in many languages (French, English, Italian, Spanish, German, Russian, Armenian, Neapolitan and Kabyle), which helped him perform at Carnegie Hall, in the US, and other major venues around the world. He also recorded at least one song from the 18th-century Armenian poet Sayat-Nova (in 1988), an Armenian-French song with Bratsch (in 2007),[35] and a popular song, Im Yare[36] (in 2009) in Armenian. "Que C'est Triste Venise", sung in French, Italian ("Com'è Triste Venezia"), Spanish ("Venecia Sin Ti"), English ("How Sad Venice Can Be") and German ("Venedig in Grau"), was very successful the mid 1960s.[37]
Known as "The Group" or "Il Gruppo", they released seven albums across the Deutsche Grammophon, RCA, and Cramps labels: Gruppo di Improvvisazione Nuova Consonanza (1966), The Private Sea of Dreams (1967), Improvisationen (1968), The Feedback (1970), Improvvisazioni a Formazioni Variate (1973), Nuova Consonanza (1975), and Musica su Schemi (1976). Perhaps the most famous of these is their album entitled The Feed-back, which combines free jazz and avant-garde classical music with funk; the album frequently is sampled by hip hop DJs and is considered to be one of the most collectable records in existence, often fetching more than $1,000 at auction.[46]
In 2009, Tarantino originally wanted Morricone to compose the film score for Inglourious Basterds.[103][104] Morricone was unable to, because the film's sped-up production schedule conflicted with his scoring of Giuseppe Tornatore's Baarìa.[105] However, Tarantino did use eight tracks composed by Morricone in the film, with four of them included on the soundtrack. The tracks came originally from Morricone's scores for The Big Gundown (1966), Revolver (1973) and Allonsanfàn (1974).[106][107]
Morricone received his first Academy Award nomination in 1979 for the score to Days of Heaven (Terrence Malick, 1978).[90] He received his second Oscar nomination for The Mission.[90] He also received Oscar nominations for his scores to The Untouchables (1987), Bugsy (1991), Malèna (2000), and The Hateful Eight (2016).[90] In February 2016, Morricone won his first competitive Academy Award for his score to The Hateful Eight.[188] Morricone and Alex North are the only composers to receive the Academy Honorary Award since its introduction in 1928.[189] He received the award in February 2007, "for his magnificent and multifaceted contributions to the art of film music."[190] In 2005, four film scores by Ennio Morricone were nominated by the American Film Institute for an honoured place in the AFI's Top 25 of Best American Film Scores of All Time.[191] His score for The Mission was ranked 23rd in the Top 25 list.[192] Morricone was nominated seven times for a Grammy Award. In 2009 The Recording Academy inducted his score for The Good, the Bad, and the Ugly (1966) into the Grammy Hall of Fame.[193][194] In 2010 Ennio Morricone and Icelandic singer Björk won the Polar Music Prize. The Polar Music Prize is Sweden's biggest music award and is typically shared by a pop artist and a classical musician. It was founded by Stig Anderson, manager of Swedish pop group ABBA, in 1989. A Variety poll of 40 top current film composers selected The Mission as the greatest film score of all time.[195] 2b1af7f3a8