In the seventies Luis Bacalov had increasingly developed an interest in contaminating his musical art, with grafts from that Italian avant-garde music that was winning acclaim and characterizing the years of protest. Following the successful album made with the New Trolls Concerto Grosso, Bacalov landed in 1972, among the brilliant progressive ideas of Osanna arranging a new musical experiment entitled Preludio, Tema, Variazioni e Canzona, also known as Milano Calibro 9, the title of the film noir-police by Fernando di Leo, based on the anthology of short stories by Giorgio Scerbanenco of which was the soundtrack, although some songs on the vinyl do not appear directly in the film. Produced by Sergio Bardotti and with a particular discographic choice, since it was divided into two distinct parts between Bacalov and Osanna, the record was first published by Fonit Cetra in 1972, to be later reissued under the label Fonit/Pellicano, this time with the title of the film Milano Calibro 9 on the cover.
In the overall view, Milano Calibro 9 succeeds in supporting the necessary synesthetic parallelism given by the binomial sight-hearing, the main objective of this type of music, offering the listener different moods and valuable emotions. Bacalov’s orchestral arrangements are every time respectful of those conventions that are essential to compose film music, clearly appreciable in the various choices that go from the theme to the melodies, to the timbres and the different tonalities and that, among the notes of the stave, reserve a shy space to let that sufficient as peculiar and distinguishable rock of Osanna hover in the air.
Source
Genre: progressive rock
Side A
1 Preludio
2 Tema
3 Variazione I
4 Variazione II
Side B
1 Variazione III
2 Variazione IV
3 Variazione V
4 Variazione VI
5 Variazione VII
6 Canzona
