Il mito dell'amore - The Myth of Love

Il mito dell'amore vive Si nutre di fantasia Quando t'innamori è tutto bello Anche come ti ossessionano i pensieri Nell'attrazione bisogno di unità Echi di mantra nel suono del suo nome Un giorno da ragazzi Camminavamo sul lungomare Mi disse "Sanno già di noi Vieni a casa ti presento ai miei" Mi tocchi il cuore e la libertà Ma solo l'idea mi fa sentire prigioniero Nei valori tradizionali Il senso di una via Primordiali movimenti interni a un'emozione Amore mio Resisterai a un altro addio Il mito dell'amore muore Senza tante cortesie Ti accorgi che è finita Da come cadi nell'insofferenza Ciò che ti unisce Ti dividerà Nei miei ricordi La Quarta Sinfonia di Brahms Il mito dell'amore © 1988 Franco Battiato "Il mito dell'amore" plots the arc of love from its idealized first stages through to its inevitable end. And after it's all over, you put on some Brahms, whom Battiato described as "the poet of nature, of melancholy, and of solitude."

The myth of love lives, it’s fed by fantasy. When you fall in love, everything’s beautiful even as thoughts obsess you. In attraction I need unity. Echoes of mantra in the sound of your name. One day as kids we walked along the seaside. You said to me “They already know about us. Come to my house, I’ll introduce you to everyone.” You touch my heart and my freedom, but just the idea makes me feel a prisoner. In traditional values, the sense of a way, primordial movements inside of an emotion. My love, you’ll endure another farewell. The myth of love dies without many courtesies. You notice that it’s finished by the way you fall into impatience. That which unites you will divide you. In my memories, the Fourth Symphony of Brahms. English translation © 2020 Dennis Criteser Fisiognomica was released in 1988. After 1985's Mondi Lontanissimi, Battiato changed course once again and dedicated himself to working on an opera based on Genesis, a project he'd already begun in 1983. The opera was nearly all-consuming for the next two years and was finally mounted in 1987. Battiato then committed to writing another opera based on the myth of Gilgamesh. However, some non-classical songs were beginning to reappear in his writing, and he decided to produce another "pop" album (the word "pop" must always be in quotes when applied to Battiato), though one that unites pop, operatic, classical, and contemplative music. One that also places spirituality at the core, with lyrics and music that are serious, refined, intimate and more personally direct than Battiato was previously willing to be in his former years of word play, irony, hard-to-understand esoteric references, and fragmentism.

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