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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