Secondo imbrunire - Second Dusk

Quei muri bassi di pietra lavica Arrivano al mare e da qui Ci passava ogni tanto Un bagnante in estate Sciara delle Ginestre esposte al sole Passo ancora il mio tempo A osservare i tramonti E vederli cambiare In Secondo Imbrunire E il cuore Quando si fa sera Muore d'amore Non ci vuole credere Che è meglio Stare soli Cortili e pozzi antichi Tra i melograni Chiese in stile normanno E una vecchia caserma Dei carabinieri Passano gli anni E il tempo delle ragioni Se ne sta andando Per scoprire che non sono Ancora maturo Nel Secondo Imbrunire E il cuore Quando si fa sera Muore d'amore Non si vuol convincere Che è bello Vivere da soli Secondo imbrunire © 1988 Franco Battiato "Secondo imbrunire" is a song of reflection, as Battiato said, about "the classic contrast between the calling to a solitary life and the desire to unite with other people and form a nucleus."

Those low walls of lava rock arrive at the sea, and from here there used to pass every so often a bather in summertime. Lava field of the Ginestre exposed to the sun, I still pass my time to observe the sunsets and see them change into Second Dusk. And the heart, when it is evening, dies of love. It doesn’t want to believe that it’s better to be by ourselves. Courtyards and ancient wells between the pomegranates, churches in the Norman style, and an old barracks of the carabinieri. The years pass and the time of reasoning is disappearing to discover that I am not yet mature in the Second Dusk. And the heart, when it is evening, dies of love. It doesn’t want to believe that it’s beautiful to live by ourselves. 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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