Di passaggio - In Transit

ταὐτῷ τ' ἔνι ζῶν και τεθνηκός, καὶ τὸ ἐγρηγορὸς καὶ τὸ καθεῦδον, καὶ νέον καὶ γηραιόν; τάδε γὰρ μεταπεσόντα ἐκεῖνά εστι κἀκεῖνα πάλιν μεταπεσόντα ταῦτα. Passano gli anni I treni, i topi per le fogne I pezzi in radio Le illusioni, le cicogne Passa la gioventù Non te ne fare un vanto: Lo sai che tutto cambia Nulla si può fermare Cambiano i regni Le stagioni, i presidenti, le religioni Gli urlettini dei cantanti... E intanto passa ignaro Il vero senso della vita Si cambia amore, idea, umore Per noi che siamo solo di passaggio L'Informazione, il Coito, la Locomozione Diametrali Delimitazioni Settecentoventi Case Soffia la Verità Nel Libro della Formazione Passano gli alimenti Le voglie, i santi, i malcontenti Non ci si può bagnare Due volte nello stesso fiume Né prevedere i cambiamenti di costume E intanto passa ignaro Il vero senso della vita Ci cambiano capelli, denti e seni A noi che siamo solo di passaggio εἴπας 'Ἥλιε χαῖρε᾽ Κλεόμβροτος Ὡμβρακιώτης ἥλατ᾽ ἀφ᾽ ὑψηλοῦ τείχεος εἰς Ἀίδην, ἄξιον οὐδὲν ἰδὼν θανάτου κακόν, ἀλλὰ Πλάτωνος ἀλλὰ Πλάτωνος Di passagio © 1996 Franco Battiato & Manlio Sgalambro "Di passaggio" took inspiration from a Sufi story, wherein a young seeker comes to meet a Master who lives in a remote and desolate location, in a dwelling devoid of furnishings and decor. The young seeker, surprised by the starkness, asks, "But you live here? Without furniture, without anything?" The Master asks what furnishings the young seeker has with him, who then replies "But I'm in transit." The Master's retort - "Me too!" The song begins with Sgalambro reciting a fragment in ancient Greek from Heraclitus, he of "no man steps in the same river twice" fame. The music kicks in, announcing the new rock-guitar sound of this phase of Battiato's career. The song also closes in Greek, with Battiato and Antonella Ruggiero reciting most of Epigram XXV from Callimachus, scholar-poet of the Hellenistic age (the complete epigram ends with "but he had read one writing of Plato’s, On the Soul.").

It is the same thing to be living and to be dead, to be awake and to be sleeping, and to be young and to be old; because the one falls into the other and the other again falls into the one. The years pass, the trains, the rats in the sewers, the pieces on the radio, the illusions, the storks. Youth passes, there’s nothing to brag about: You know that everything changes, nothing can stay still. Kingdoms change, the seasons, presidents, religions the squeals of the singers . . . and instead, unaware passes the true meaning of life. Love changes, idea, humor, for us who are only in transit. Information, Coitus, Locomotion Diametrical Delimitations, 720 houses. The Truth blows in the Book of Training. The groceries pass, the cravings, the saints, the malcontents. One can’t bathe two times in the same river, nor foresee the changes of costume. And instead, unaware passes the true meaning of life. Our hair, teeth and breasts change, for us who are only in transit. Farewell, O Sun, said Cleombrotus of Ambracia, leaping off a high wall into Hades. Nothing bad had he seen worthy of death, but Plato’s . . . but Plato's . . . English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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Strani giorni - Strange Days

In nineteen fortyfive I came to this planet Ascoltavo ieri sera un cantante uno dei tanti E avevo gli occhi gonfi di stupore   I've seen many things in this part of the world Nel sentire: "il cielo azzurro appare limpido e regale"   Let me tell you something (il cielo a volte, invece, ha qualche cosa d'infernale) Strani giorni viviamo strani giorni Cantava:   Life can be short or long Sento un rumore di swing provenire dal Neolitico   It depends Dall'Olocene   Where you go at night Sento il suono di un violino   Alone and walking alone   through the grey Sunday streets E mi circondano l'alba   Looking for someone E il mattino   The place was clean well lit Chissà com'erano allora   I went in and I said (I suppose I said) Il Rio delle Amazzoni   Whisky please Ed Alessandria la grande   The place was clean well lit E le preghiere e l'amore?   Two men in a corner were waiting Chissà com'era il colore?   I saw it from their hands   You look at the hands Not at the face If you want to stay out of trouble Mi lambivano suoni che coprirono rabbie e vendette Di uomini con clave Ma anche battaglie e massacri di uomini civili   Looking for someone L'Uomo Neozoico   Where you go at night Dell'Era Quaternaria Strani giorni viviamo strani giorni   Strange days I lived through strange days Nella voce di un cantante Si rispecchia il sole Ogni amata ogni amante Strani giorni viviamo strani giorni I've fallen into reverie I dreamed a vague outline The whisky flowed Sending me into the past Action roll the cameras Here comes a lighting tour of my life The two in the corner didn't say a word Strani giorni © 1996 Franco Battiato & Manlio Sgalambro "Strani giorni" combines two story lines, the one in English sung by Nicola Walker Smith.

In 1945 I came to this planet. I listened last night to a singer, one of many, and my eyes were filled with wonder   I’ve seen many things in this part of the world in hearing: “the blue sky appears limpid and regal.”   Let me tell you something (The sky at times, instead, has some hellish things.) Strange days, we live strange days. She sang:   Life can be short or long I hear a sound of swing hailing from the Neolithic,   It depends from the Holocene,   where you go at night I hear the sound of a violin   Alone and walking alone   through the grey Sunday streets and the dawn surrounds me,   Looking for someone and the morning.   The place was clean and well lit Who knows how they were then,   I went in and I said (I suppose I said) the Amazon River   Whisky please and the great Alexandria,   The place was clean well lit and the prayers and the love?   Two men in a corner were waiting Who knows what color was like?   I saw it from their hands You look at the hands, not at the face, if you want to stay out of trouble. Sounds lapped me that cover rages and vendettas of men with clubs, but also battles and massacres of civil men –   Looking for someone the Neozoic Man   Where you go at night of the Quaternary Age. Strange days, we live strange days.   Strange days, I lived through strange days. In the voice of a singer is reflected the sun, every beloved, every lover. Strange days, we live strange days. I've fallen into reverie. I dreamed a vague outline. The whisky flowed, sending me into the past. Action, roll the cameras, here comes a lighting tour of my life. The two in the corner didn't say a word. English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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La cura - The Cure

Ti proteggerò dalle paure delle ipocondrie Dai turbamenti che da oggi incontrerai per la tua via Dalle ingiustizie e dagli inganni del tuo tempo Dai fallimenti che per tua natura normalmente attirerai Ti solleverò dai dolori e dai tuoi sbalzi d'umore Dalle ossessioni delle tue manie Supererò le correnti gravitazionali Lo spazio e la luce per non farti invecchiare E guarirai da tutte le malattie Perché sei un essere speciale Ed io, avrò cura di te Vagavo per i campi del Tennessee Come vi ero arrivato, chissà Non hai fiori bianchi per me? Più veloci di aquile i miei sogni Attraversano il mare Ti porterò soprattutto il silenzio e la pazienza Percorreremo assieme le vie che portano all'essenza I profumi d'amore inebrieranno i nostri corpi La bonaccia d'agosto non calmerà i nostri sensi Tesserò i tuoi capelli come trame di un canto Conosco le leggi del mondo, e te ne farò dono Supererò le correnti gravitazionali Lo spazio e la luce per non farti invecchiare Ti salverò da ogni malinconia Perché sei un essere speciale ed io avrò cura di te Io sì, che avrò cura di te La cura © 1996 Franco Battiato & Manlio Sgalambro Of "La cura," Battiato said, "I was touched by a little light that allowed me to write this piece. A true and rare moment of the purest inspiration." One of two songs on the album where Battiato had input on the lyrics, the song became one of his most beloved works, and has been covered by a number of other artists, a love song at once cerebral and yet profoundly moving.

I'll protect you from the fears of the hypochondriacs, from the turmoils that from today you will encounter in your life, from the injustices and from the deceptions of your time, from the failures that by your nature you will normally attract. I'll lift you from the sorrows and from your mood swings, from the obsessions of your delusions. I will overcome the gravitational currents, space, and light to make you not age, and I will heal from all the illnesses because you are a special being and I, I will take care of you. I wandered the fields of Tennessee. How I arrived there, who knows? Don’t you have white flowers for me? Faster than eagles, my dreams cross the ocean. I'll carry you above the silence and the patience, we’ll follow together the ways that carry to the essence. The scents of love will intoxicate our bodies, the stillness of August won’t calm our senses. I'll weave your hair like plots of a song. I know the laws of the world and I’ll make a gift to you of them. I will overcome the gravitational currents, space, and light to make you not age. I will save you from every gloom because you are a special being, and I'll take care of you. Yes, me, who will take care of you. English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's. Cover by Algebra, with Steve Hackett and Anthony Phillips, known for their work with Genesis

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...Ein Tag aus dem Leben des kleinen Johannes - . . . A Day from the Life of Little Johann

..ein Tag aus dem Leben des kleinen Johannes La manina che sbuca pallida dal tuo vestito alla marinara Johann klein Johann Bist du denn ein kleines Mädchen? Was soll aus dir werden Wenn du so fortfährst? Er trank an dem bekränzten Tische Den heißen Tee aus der Untertasse La musica ti sfinisce Ist Demagogie, Blasphemie, und Wahnwitz! Ma tu scoppi d'amore Genug, Tony, genug! Ich bitte dich Was setzest du ihm in den Kopf Er saß, ein wenig über die Tasten gebeugt Sedette e cominciò a improvvisare E I capelli castani gli coprivano le tempie In morbidi ricci Così con malinconia lieve Dies war ein Tag aus dem Leben des kleinen Johannes Genug, Tony, genug! Ich bitte dich Was setzest du ihm in den Kopf Er saß... © 1996 Franco Battiato & Manlio Sgalambro The German lines in "...Ein Tag aus dem Leben des kleinen Johannes" are taken from Thomas Mann's novel Buddenbrooks - Tony is the daughter of Johann III. Running through much of the song is a sample of the intro of a song called Buura, by the Tuvan singers Shu-De

. . . A day from the life of little John The little hand that pokes out pale from your sailor suit. John, little Johann, are you a little girl? What should become of you if you continue like this? He drank at the garlanded table the hot tea from the saucer. The music wears you out, it’s demagoguery, blasphemy and madness! But you are bursting with love. Enough, Tony, enough! I beg you. What are you putting in his head? He was sitting a little over the keys, he sat and began to improvise and his chestnut hair covered his temples in soft curls, thus with gentle melancholy. This was a day from the life of little Johann. Enough, Tony, enough! I beg you. What are you putting in his head? He sat . . . English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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Amata solitudine - Beloved Solitude

A quel tempo tu stavi, sicura di te, della tua logica Guidando e parlando ininterrottamente... Ed io, che già non ti ascoltavo più, come ipnotizzato Seguivo gli occhi che seguivano i colori I raggi elettrici della città Chissà cos'è quel moto che ci unisce e ci divide E quel parlare inutilmente delle nostre incomprensioni Per certi passeggeri malumori Amata solitudine Isola benedetta A quel tempo di te, amavo il tuo pensiero logico E quella linea perfetta del baciare La simmetria delle tue carezze; Vivificato dal chiarore vibrante di sapore: Scintilla di una mente universale Ero in te come un argomento del tuo amore sillogistico Conclusione di un ragionamento Ma mi piaceva essere così Avviluppato dai tuoi sensi artificiali Ora sono come fluttuante... Amata solitudine Isola benedetta Così è finita, mi stacco da te Da solo continuo il viaggio Rivedo daccapo il cielo colorato di sole Di nuovo vivo The light comes over the night I open my eyes without you The light comes over the night I open my eyes without you Amata solitudine © 1996 Franco Battiato & Manlio Sgalambro "Amata solitudine" was inspired by a passage from Lawrence Durrell's Justine: "Our love ... was like a syllogism lacking its true premises ... It was a kind of mental possession."

At that time you were sure of yourself, of your logic, driving and talking without interruption . . . And I, already not listening to you any more, as if hypnotized, I followed my eyes that followed the colors, the electric radiation of the city. Who knows what the motion is that joins and divides us. And that useless talking about our incomprehensions for certain ill-tempered passengers. Beloved solitude, blessed island. At that time of you, I loved your logical thought and that perfect line of kissing, the symmetry of your caresses; enlivened by the vibrant glow of flavor: spark of a universal mind. I was in you like a theme of your syllogistic love, conclusion of a reasoning. But I liked being like that, enveloped by your artificial senses. Now I am as if fluctuating . . . Beloved solitude, blessed island. Like that it’s finished, I detach from you. Alone I continue the voyage. I see anew the sun-colored sky, once more alive. The light comes over the night, I open my eyes without you. The light comes over the night, I open my eyes without you. English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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Splendide previsioni - Splendid Forecast

Brief an das Nichts Unbekanntes Nichts Sage mir ein Wort Eine Schnee Nadel jenseits des Schweigens Le previsioni danno nuvole nere Stormi di temporali in arrivo Io sono pronto ad ogni evenienza Ad ogni nuova partenza: Un viaggiatore che non sa dove sta andando... Enormi uccelli d'oro solcano il cielo Spruzzi di fuoco da i forni La gente vive senza più testa La specie è in mutazione E non sappiamo dove stiamo andando... Eine Briefmarke mit tropischen Urpflanzen Die Schatten sind umgekehrt Zauber Grün vergiftetes Grün Die Hand die schreibt ist ebenso ein Schatten You and I will never die Standing in the shadow Of the night In un punto altissimo Inaccessibile And I'm never in touch With your heart Le previsioni danno nuvole nere Stormi di temporali in arrivo Io sono pronto ad ogni evenienza Ad ogni nuova partenza: E non sappiamo dove stiamo andando Die Hand die schreibt Ist ebenso ein Schatten Aus der Ferne ein Klang Wenn mann zuhört Ist er schon verschwunden Splendide previsioni © 1996 Franco Battiato, Manlio Sgalambro & Fleur Jaeggy The German text in "Splendide previsioni" is written and recited by Swiss writer, and occasional collaborator with Battiato, Fleur Jaeggy. The Italian lyrics have harmonies supplied by Antonella Ruggiero, and the English lyrics have harmonies by Nicola Walker Smith.

Letter to the Nothing, unknown Nothing. Say to me a word, a snow needle beyond silence. The forecast says black clouds, flocks of incoming storms. I am ready for every contingency, for every new departure: a traveler who knows not where he’s going . . . Enormous golden birds ply the sky, sprays of fire from the ovens. The people live without a head anymore, the species is in mutation and we don’t know where we’re going . . . A stamp with tropical protoplants – the shadows are reversed. Magic green, poisoned green, the hand that writes is precisely so a shadow. You and I will never die standing in the shadow of the night, at a point most high, inaccessibile. And I'm never in touch with your heart Enormous golden birds ply the sky, sprays of fire from the ovens. The people live without a head anymore, the species is in mutation and we don’t know where we’re going . . . The hand that writes is precisely so a shadow, a sound from afar. When man listens is he already gone? English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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Ecco com'è che va il mondo! - This Is How the World Goes!

Era la più grassa puttana Che mai avessi visto La donna più grassa che avessi guardato Aveva un vestito di seta cangiante Perline al collo, un ventaglio di struzzo Mani delicate Uno le disse: "schifosa montagna di grasso" Rise e dimenò il corpo come a dire sì O buon Gesù, certo sì Farlo con te non deve essere comodo Sei grassa come tre..... E invece no, invece mi dicono Che bel posto hai Sei più bella di Marilyn O di Evelyn, non ricordo più Rise e dimenò il capo Farfugliò qualcosa, come a dire sì Vedete come va il mondo? Ecco com'è che va il mondo! La mia anima non stilla miele e dolcezze Happyness and truth, bisogni naturali Ma io ho una bambina, negli intervalli Che mi accarezza i bianchi capelli E gli anni si fanno docili al suo tocco Mi bacia sulle guance crudeli E giochi pazienti di rami mi intreccia Con le sue pupille da gatta Era d'aprile o forse era maggio? Per caso la rincontrai Risi e dimenai il capo Farfugliai qualcosa tanto per dire sì Vedete come va il mondo? Ecco com'è che va il mondo! Ecco com'è che va il mondo! © 1996 Franco Battiato & Manlio Sgalambro "Ecco com'è che va il mondo!" is a

She was the fattest whore I’d ever seen, the fattest woman I’d ever gazed upon. She wore a glistening silk dress, little pearls around her neck, an ostrich fan, delicate hands. Someone said to her: “disgusting mountain of fat.” She laughed and wiggled her body as if to say “Yes” or “Good Lord, certainly yes.” Doing it with you doesn’t have to be comfortable, you’re as fat as three . . . And instead no, instead they say to me “What a beautiful place you have, you’re prettier than Marilyn or than Evelyn, I don’t remember any more.” She laughed and wiggled her head. She mumbled something as if to say yes. Do you see how the world goes? This is how the world goes! My spirit doesn’t ooze honey and sweetness, happiness and truth, natural needs, but I have a little girl, in the intermissions, who caresses my white hair. And the years are tamed at her touch. She kisses me on my rough cheeks and patient games of branches entwine me with their cats eyes. Was it April or perhaps it was May? By chance I met her again. I laughed and wiggled my head. I muttered something such as to say yes. Do you see how the world goes? This is how the world goes! English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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Segunda-feira - Segunda-feira (Monday)

Ti porto con me Segunda-feira de Lisboa Nel mio antico mare Nell'Acqua Occidentale Nel Mediterraneo Affollato di navi E corpi d'ignudi nuotatori Fanciulli con sguardo da fiere Gli occhi di lince dei Braganza Fissano il Nord Sognando l'oltremare Come ghirlanda intrecciano una danza Trago dentro do meu coraçã Todos lugares onde estive: A entrada de Singapura O coral das Maldivas Macao da noite A uma ora, a uma ora Ti porto con me Segunda-feira de Lisboa Nel mio antico mare Nell'Acqua Occidentale Nel Mediterraneo Affollato di navi e corpi D'ignudi nuotatori Segunda-feira de Lisboa Che nome d'incanto! Qui da noi è lunedì Soltanto Segunda-feira © 1996 Franco Battiato & Manlio Sgalambro Segunda-feira means Monday in Portuguese. Sgalambro wrote these lyrics as a sort of homage to the Mediterranean after a phone call with Battiato, who was in Lisbon. The reference to Braganza calls forth the era when, beginning in 1640, the royal House of Braganza supplied Portugal its kings.

I carry you with me Lisbon Monday in my ancient sea in the Western Waters in the Mediterranean full of ships and bodies of naked swimmers. Children with proud gaze, the eyes of Braganza lynx affix the North. Dreaming beyond the seas, like a garland they weave a dance. I bring inside my heart all the places I've been: the Singapore Inlet, the Maldives Coral, Macao at night at one o’clock, at one o’clock. I carry you with me Monday in Lisbon in my ancient sea in the Western Waters in the Mediterranean full of ships and bodies of naked swimmers. Segunda-feira of Lisbon – such a name of enchantment! Here among us it’s Monday, merely. English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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Memoria di Giulia - Memory of Julia

Quel letto d'ottone in cui mi accoglievi giovinetto Il radiogrammofono che prendeva tutto Quando ti portavo in quel caffè "prego, fragole con panna" dicevo E superbo ti guardavo mentre l'altro Mi ricambiava con disprezzo Sogghignando verso te E la tua foto che portai tanti anni addosso Prima che un cassetto l'accogliesse e la sbiadisse Seppi della tua morte E rividi i tuoi boccoli E sul tuo viso la sorte La mia memoria trae fuori i ricordi da un cappello Senza che io sappia perché questo e non quello Ho avuto delle gioie. Talvolta Si dormiva tutti e tre Io tua madre e te nello stesso letto Ma che innocenza, che santa trinità Era un gesto d'affetto e di rispetto O memoria perché mi inganni Perché come se fossi vento Mi butti questa polvere negli occhi Accarezzavo le tue ginocchia E il tuo semplice cuore era contento Ho avuto delle gioie, sì Ti ricordo così, povera Giulia, gaia e ridente Impaziente mi aspettava la vita Mentre il vento frizzante del mattino Si portava via ogni cosa Avevo diciassette anni Memoria di Giulia © 1996 Franco Battiato & Manlio Sgalambro "Memoria di Giulia" is reminiscent of "A Silvia," a poem by Giacomo Leopardi, the premier 19th century Italian poet.

That brass bed in which you embraced me, a young man. The gramophone that took everything. When I took you to that coffeehouse “strawberries and cream, please,” I said. And proud I watched you while the other reciprocated with displeasure, grimacing towards you. And your photo that I kept on me so many years, before a dresser received it and faded it. I knew of your death and I saw again your ringlets, and on your face your destiny. My memory pulls out of a hat the remembrances without knowing why this and not that. I had some joys, sometimes. All three of us slept – me, your mother, and you – in the same bed. But such innocence, what a holy trinity. It was a gesture of affection and respect. Oh memory, why do you fool me? Why, as if you were wind, do you throw this dust in my eyes? I caressed your knees and your simple heart was content. I had some joys, yes. I remember you thus, poor Julia, gay and laughing. Impatient, life waited for me while the crisp morning wind carried everything away. I was 17 years old. English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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Serial killer

Mentre al riparo di un faggio Anelo alla felicità delle foglie Sfilano lontane carovane E il mio sogno è perfetto Ma l'esistenza mi attira Mi vedo riflesso sulle acque del lago Sogno pomeridiano di un fauno che si sveglia No non voglio farti del male Fratello mio, non credere Perché ho un coltello in mano E tu mi vedi quest'arma a tracolla E le bombe che pendono dal mio vestito Come bizzarri ornamenti Collane di scomparse tribù Non avere paura Perché porto il coltello tra i denti E agito il fucile come emblema virile Non avere paura della mia trentotto Che porto qui sul petto Di questo invece devi avere paura: Io sono un uomo come te Gli eucalipti crescono bene, quest'anno Peschi e tamarindi colorano le mie avide pupille Mi preparano un cuscino di erbe per nuovi sogni Per nuovi sogni Serial killer © 1996 Franco Battiato & Manlio Sgalambro In the first verse of "Serial killer" there are hints of Mallarme's Afternoon of a Faun and Virgil's The Eclogues. The penultimate verse probably references the Latin proverb "Homō hominī lupus," meaning "A man is a wolf to another man."

While sheltered by a beech tree I yearn for the happiness of the leaves. Distant caravans parade along, and my dream is perfect. But existence attracts me, I see myself reflected in the waters of the lake - afternoon dream of a faun that awakens. No, I don’t want to harm you. My brother, don’t believe because I have a knife in hand and you see me with this shoulder gun and the bombs that hang from my vest like bizarre ornaments, necklaces of vanished tribes. Don’t be afraid because I carry the knife between my teeth and I wave the rifle like a virile emblem. Don’t be afraid of my .38 that I carry here on my chest. Of this you should instead be fearful: I am a man like you. The eucalyptus trees grow well this year, peaches and tamarinds color my greedy pupils. They prepare me a cushion of grass for new dreams, for new dreams. English translation © 2020 Dennis Criteser L'imboscata (The Ambush) was released in 1996. It marked another change of direction for Battiato, returning to the world of rock and the electric guitar after his turn into classical music sonorities beginning in 1986. He also felt a desire to connect to a larger popular audience (the sales of his previous album were the lowest of all his pop albums going back to 1979; L'imboscata became the second best selling album of the year). The album cover is a painting by Antoine-Jean Gros - Napoleon at the Pyramids. Like the previous album, the lyrics were by the Sicilian philosopher Manlio Sgalambro, with Battiato's input on "Di passaggio" and "La cura." The album was dedicated to the writer Gesualdo Bufalino, a close friend of Battiato's.

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