There are three parts to the composition, the initial "Fuga dal Presente" (Present-day Fugue), an instrumental "Ominous News Report" complete with electric guitar and bass, timpani, and horn and strings sections. It is followed by the Ave Maria itself, a devotional piece where the theme is "Faith is the Cure" and where no electric instruments are used. The final "In Forma di Stella" (In the Form of Stella/Star) is an improvisational piece co-authored by the two artists, just timpani and mesmerizing vocals, dedicated to the singer's daughter with the theme of "No Inner Peace."

As Maria Paola Masala notes in an interview with Morricone in the booklet, this is "music that is simple but never banal" and this captures perfectly the essence of this work in three parts, very different from each other, but still unified: relentless, devotional and inspiring. There is a prevalent sense of urgency about the work, possibly due to its laconic character, possibly a by-product of the Master's long association with soundtracks where every note counts: in a little more than 16 minutes it is over.

It is incredible, though, that so many feelings and ideas are incorporated in such a limited space. From the Earth to the Sky is the place where Madonna is thought to function in the conscience of the Mediterranean Christian people. Mary as the courier between Heaven and Earth, relaying the needs and aspirations of humans and acting as a role model, "the saintliest human being." Mary as the friend and the confessor, a human who knows how it is for our species; Mary as the "Mother, Daughter and Wife" of this text who has been through the best and worst of times.

As Italy seems to be entering a new era of confrontation unknown in recent decades, this work, presenting the basic ingredients of the Italian culture (its history, its religiosity, its multitude of local traditions and its aspiration for progress), can be used to express all the changes and constants in Italy over those years in between. Despite the fact that Morricone and Murtas first met during the recording of poems by a well-known Greek liberal activist and that both of them carry an affection for social causes, they are still deeply religious, if in its purest form. It is evident in this highly unconventional work; it presents none of the trappings of traditional versions, being spiritual and not exclusive. It is a perfect accompaniment for this period of Easter, a call for moderation and social justice, and a true work of art. - Nondas Kitsos

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