Povera patria - Poor Homeland

Povera patria! Schiacciata dagli abusi del potere di gente infame, che non sa cos'è il pudore. Si credono potenti e gli va bene quello che fanno; e tutto gli appartiene. Tra i governanti, quanti perfetti e inutili buffoni! Questo paese è devastato dal dolore... Ma non vi danno un po' di dispiacere quei corpi in terra senza più calore? Non cambierà, non cambierà No, cambierà, forse cambierà. Ma come scusare le iene negli stadi e quelle dei giornali? Nel fango affonda lo stivale dei maiali. Me ne vergogno un poco, e mi fa male vedere un uomo come un animale. Non cambierà, non cambierà Sì che cambierà, vedrai che cambierà. Si può sperare che il mondo torni a quote più normali che possa contemplare il cielo e i fiori che non si parli più di dittature Se avremo ancora un po' da vivere... La primavera intanto tarda ad arrivare. Povera patria © 1991 Franco Battiato "Povera patria" is a devastating look at the failings and ills of Italy's politics. Battiato generally felt that it wasn't an artist's place to address political themes, but his indignation at the state of affairs in Italy pushed him to write this bitter, sad, but clear-eyed assessment that shows him vacillating between hope and despair.

Poor homeland! Smashed by the abuses of power of notorious people who don’t know what decency is. They think themselves potent and are fine with what they do; and everything belongs to them. Among the rulers, such perfect and useless buffoons! This country is devastated by suffering. But don’t they give you some displeasure those bodies in the ground with no warmth left? It won’t change, it won’t change. No, it will change, maybe it will change. But how to excuse the hyenas in the stadiums and those in the news? In the mud sinks the boot of the pigs. I’m a little ashamed, and it sickens me to see a man as an animal. It won’t change, it won’t change. But yes it will change, you’ll see, it will change. One can hope that the world returns to more normal times, that one can contemplate the sky and the flowers, that there’s no more talk of dictators. If we will still have a little longer to live . . . The spring meanwhile is late in arriving. English translation © 2020 Dennis Criteser Come un camello in una grondaia was released in 1991, and was recorded at Abbey Road Studios because Battiato and arranger Giusto Pio wanted to use the Astarte Orchestra and the Ambrosian Singers, both based in London. The album marks a further distancing from Battiato's 1980s pop/rock period, with the rhythm section being jettisoned, resulting in four contemporary Lieder, which are poems set to classical music. These four works of Battiato are paired with four traditional Lieder: Schmerzen by Wagner, Plaisir d'amour by Martini Il Tedesco, Gestillte Sehnsucht by Brahms, and Oh Sweet Were the Hours by Beethoven.

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Le sacre sinfonie del tempo - The Sacred Symphonies of Time

Le sento più vicine le sacre sinfonie del tempo Con una idea: che siamo esseri immortali Caduti nelle tenebre, destinati a errare; Nei secoli dei secoli, fino a completa guarigione Guardando l'orizzonte, un'aria di infinito mi commuove; Anche se a volte, le insidie di energie lunari Specialmente al buio mi fanno vivere nell'apparente inutilità Nella totale confusione ... Che siamo angeli caduti in terra dall'eterno Senza più memoria: per secoli, per secoli Fino a completa guarigione Le sacre sinfonie del tempo © 1991 Franco Battiato "Le sacre sinfonie del tempo" is a contemplative song about a sacred Eternity from which we came and to which we will return and be healed. According to Gurdjieff, the moon feeds on our souls and pushes us in directions that take us further from a sense of the divine, even into violence and war.

I hear them closer, the sacred symphonies of time, with an idea: that we are immortal beings fallen into darkness, destined to err, forever and ever, until complete healing. Looking at the horizon, a breath of the infinite moves me; even if at times the perils of lunar energies, especially in the darkness, make me live in seeming futility. In the total confusion . . . that we are fallen angels on land since eternity with no more memory: for centuries, for centuries until complete healing. English translation © 2020 Dennis Criteser Come un camello in una grondaia was released in 1991, and was recorded at Abbey Road Studios because Battiato and arranger Giusto Pio wanted to use the Astarte Orchestra and the Ambrosian Singers, both based in London. The album marks a further distancing from Battiato's 1980s pop/rock period, with the rhythm section being jettisoned, resulting in four contemporary Lieder, which are poems set to classical music. These four works of Battiato are paired with four traditional Lieder: Schmerzen by Wagner, Plaisir d'amour by Martini Il Tedesco, Gestillte Sehnsucht by Brahms, and Oh Sweet Were the Hours by Beethoven.

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Come un camello in una grondaia - Like a Camel in the Eaves

Vivo come un cammello in una grondaia in questa illustre e onorata società! E ancora, sto aspettando, un'ottima occasione per acquistare un paio d'ali, e abbandonare il pianeta E cosa devono vedere ancora gli occhi e sopportare? I demoni feroci della guerra, che fingono di pregare! Eppure, lo so bene che dietro a ogni violenza esiste il male... se fossi un po' più furbo, non mi lascerei tentare Come piombo pesa il cielo questa notte Quante pene e inutili dolori Come un camello in una grondaia © 1991 Franco Battiato "Come un camello in una grondaia" is a phrase taken from the writings of Al-Biruni, the great medieval Islamic scientist and scholar. This solemn song was written with the Gulf War raging in the background. As he does elsewhere, Battiato expresses his desire to leave this troubled planet for another more spiritual existence.

I live like a camel in the eaves in this distinguished and storied society! And still, I am waiting for the opportune moment to acquire a pair of wings and abandon the planet. And what must the eyes still see and endure? The fierce demons of war who pretend to pray! Nevertheless, I know well that behind every violence evil exists . . . If I were a bit more clever I wouldn’t let myself try. Like lead the sky weighs down this night, so much grief and pointless suffering. English translation © 2020 Dennis Criteser Come un camello in una grondaia was released in 1991, and was recorded at Abbey Road Studios because Battiato and arranger Giusto Pio wanted to use the Astarte Orchestra and the Ambrosian Singers, both based in London. The album marks a further distancing from Battiato's 1980s pop/rock period, with the rhythm section being jettisoned, resulting in four contemporary Lieder, which are poems set to classical music. These four works of Battiato are paired with four traditional Lieder: Schmerzen by Wagner, Plaisir d'amour by Martini Il Tedesco, Gestillte Sehnsucht by Brahms, and Oh Sweet Were the Hours by Beethoven.

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L'ombra della luce - The Shadow of the Light

Difendimi dalle forze contrarie La notte, nel sonno, quando non sono cosciente Quando il mio percorso, si fa incerto E non abbandonarmi mai... Non mi abbandonare mai! Riportami nelle zone più alte In uno dei tuoi regni di quiete: E' tempo di lasciare questo ciclo di vite E non abbandonarmi mai... Non mi abbandonare mai! Perchè, le gioie del più profondo affetto O dei più lievi aneliti del cuore Sono solo l'ombra della luce Ricordami, come sono infelice Lontano dalle tue leggi; Come non sprecare il tempo che mi rimane E non abbandonarmi mai... Non mi abbandonare mai! Perchè, la pace che ho sentito in certi monasteri O la vibrante intesa di tutti i sensi in festa Sono solo l'ombra della luce L'ombra della luce © 1991 Franco Battiato "L'ombra della luce" is a prayer, a meditation, the recreation of a sacred space through the power of sound and vibration that are words and music.

Defend me from the opposing forces during the night, in sleep, when I’m unconscious, when my path, it becomes uncertain. And don’t abandon me ever . . . Don’t ever abandon me! Carry me again into the highest regions in one of your realms of quiet: it’s time to leave this cycle of lives. And don’t abandon me ever . . . Don’t ever abandon me! Because, the joys of deepest affection or of the slightest yearnings of the heart are a mere shadow of the light. Remind me how unhappy I am distant from your laws; how to not waste my time still remaining. And don’t abandon me ever . . . Don’t ever abandon me! Because, the peace I felt in certain monasteries or the vibrant rapport of all the senses in celebration are a mere shadow of the light. English translation © 2020 Dennis Criteser Come un camello in una grondaia was released in 1991, and was recorded at Abbey Road Studios because Battiato and arranger Giusto Pio wanted to use the Astarte Orchestra and the Ambrosian Singers, both based in London. The album marks a further distancing from Battiato's 1980s pop/rock period, with the rhythm section being jettisoned, resulting in four contemporary Lieder, which are poems set to classical music. These four works of Battiato are paired with four traditional Lieder: Schmerzen by Wagner, Plaisir d'amour by Martini Il Tedesco, Gestillte Sehnsucht by Brahms, and Oh Sweet Were the Hours by Beethoven.

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