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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Giubbe rosse - Red Shirts

Abito in una casa di collina E userò la macchina tre volte al mese Con 2000 lire di benzina Scendo giù in paese Quante lucertole attraversano la strada Vanno veloci ed io più piano ad evitarle Quanti giardini di aranci e limoni Balconi traboccanti di gerani Per Pasqua oppure quando ci si sposa Usiamo per lavarci Petali di rose E le lucertole attraversano la strada Com'è diverso e uguale Il loro mondo dal mio Vivere più a sud Per trovare la mia stella E i cieli e i mari Prima dov'ero Passare dal mercato del pesce Prendere i collari in farmacia per i cani E ritirare i vetri cattedrale del gazebo Il fuoco incandescente del vulcano Allontanò il potere delle Giubbe Rosse E come sembra tutto disumano E certi capi allora e oggi E certe masse Quanti fantasmi ci attraversano la strada Ritornare a sud Per seguire il mio destino La prossima tappa Del mio cammino in me Per trovare la mia stella E i cieli e i mari Prima dov'ero Giubbe rosse © 1989 Franco Battiato "Giubbe rosse" is a sort of homage to the South of Italy, marking Battiato's return to living there after his many years in Milan. The giubbe rosse were and for some still are a symbol of the enemy for Sicilians - these Red Shirts were the soldiers of Giuseppe Garibaldi who united most of Italy in the 1860s, though many in the then Kingdom of Two Sicilies viewed the "unification" as an invasion by the northern Savoy dynasty. On the other hand, there is a famous café in Florence, Caffè Giubbe Rosse, that served as an important meeting place for artists and intellectuals in the early 20th century. Above all else, the song shows Battiato ensconced in the world of Sicily, back where his roots are.

I live in a house on a hill and I’ll use the car three times a month. With 2,000 liras of gasoline I head down to the town. So many lizards crossing the road – they go fast, and I more slowly to avoid them. So many gardens of oranges and lemons, balconies with geraniums spilling over. For Easter, or when people get married, for washing ourselves we use rose petals, and the lizards cross the road. How different it is, and equal, their world from mine. Living more to the south to find my star and the heavens and the seas before where I used to be. Passing by the fish market, grabbing collars in the pharmacy for the dogs, and retracting the cathedral windows of the gazebo. The incandescent fire of the volcano distanced the power of the Red Shirts. And how everything seems inhumane, and certain leaders then and now and certain masses, so many phantoms cross the road through us. Returning south to follow my destiny, the next stop of my journey into myself, to find my star and the heavens and the seas before where I used to be. English translation © 2020 Dennis Criteser Giubbe rosse was released in 1989. It captures performances from the winter portion of the Fisiognomica tour, and included four Battiato songs not previously released on any of his albums.

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Alexander Platz

E di colpo venne il mese di Febbraio Faceva freddo in quella casa Mi ripetevi: sai che d'Inverno si vive bene come di Primavera! Sì sì proprio così La bidella ritornava dalla scuola un po' più presto per aiutarmi "ti vedo stanca hai le borse sotto gli occhi Come ti trovi a Berlino Est?" Alexander Platz aufwiederseen C'era la neve Faccio quattro passi a piedi Fino alla frontiera: "vengo con te" E la sera rincasavo sempre tardi Solo i miei passi lungo i viali E mi piaceva Spolverare fare i letti Poi restarmene in disparte come vera principessa Prigioniera del suo film Che aspetta all'angolo come Marlene Hai le borse sotto gli occhi Come ti trovi a Berlino Est? Alexander Platz aufwiederseen C'era la neve Ci vediamo questa sera fuori dal teatro "ti piace Schubert?" Alexander Platz © 1979 Franco Battiato & Giusto Pio "Alexander Platz" is based on a song (called Valery) originally written for an album by Alfredo Cohen. Battiato recrafted the lyrics for Milva, who had great success with the song in 1982.

And suddenly the month of February came. It was cold in that house. I repeated to myself: you know that in winter one lives as well as in spring! Yes, yes, just so. The janitor returned from school a little early to help me. “I see you’re tired, you have bags under your eyes. How do you like East Berlin?” Alexander Platz, farewell. It was snowing. I take four footsteps up to the border: “I’ll come with you.” And I returned home at night, always late, only my footsteps along the streets, and I liked dusting, making the beds, then staying in the background like a true princess. Prisoner of her film, who waits on the corner like Marlene. You have bags under your eyes, how do you like East Berlin? Alexander Platz, farewell. It was snowing. Let’s meet this evening outside the theater: “Do you like Schubert.” English translation © 2020 Dennis Criteser Giubbe rosse was released in 1989. It captures performances from the winter portion of the Fisiognomica tour, and included four Battiato songs not previously released on any of his albums.

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Lettera al governatore della Libia - Letter to the Governor of Libya

Presso una casa antica e bella Piena di foto di Regine e di bandiere Aspettavamo il Console Italiano La fine dell'estate fu veloce Nuvole nere in cielo e qualche foglia in terra Carico di Lussuria si presentò l'Autunno di Bengasi Lo sai che è desiderio della mano L'impulso di toccarla Ho scritto già una lettera al Governatore della Libia I trafficanti d'armi Occidentali Passano coi Ministri a fianco alle frontiere Andate a far la guerra a Tripoli Nel cielo vanno i cori dei soldati Contro Al Mukhtar e Lawrence d'Arabia Con canti popolari da osteria Lo sai che quell'idiota di Graziani Farà una brutta fine Ho scritto già una lettera al Governatore della Libia... Lettera al governatore della Libia © 1980 Franco Battiato & Giusto Pio "Lettera al governatore della Libia" was written for Giuni Rossi and appeared on her first album in 1981. From 1911-1947, Libya was a colony of Italy.

Near an ancient and beautiful house full of photos of Queens and bandits, we were waiting for the Italian Consul. The end of summer came quickly, black clouds in the sky and some leaves on the ground. Full of Lust, Benghazi Autumn introduced himself. You know that it’s the hand’s desire, the impulse to touch her. I already wrote a letter to the Governor of Libya. The Western arms traffickers pass with the Ministers along the borders. Go and make war at Tripoli. To heaven go the choirs of soldiers against al-Mukhtar and Lawrence of Arabia with popular tavern songs. You know for that idiot Graziani things will come to an ugly end. I already wrote a letter to the Governor of Libya . . . English translation © 2020 Dennis Criteser Giubbe rosse was released in 1989. It captures performances from the winter portion of the Fisiognomica tour, and included four Battiato songs not previously released on any of his albums.

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Mesopotamia

Lo sai che più si invecchia Più affiorano ricordi lontanissimi Come se fosse ieri Mi vedo a volte in braccio a mia madre E sento ancora i teneri commenti di mio padre I pranzi, le domeniche dai nonni Le voglie e le esplosioni irrazionali I primi passi, gioie e dispiaceri La prima goccia bianca che spavento E che piacere strano E un innamoramento senza senso Per legge naturale a quell'età I primi accordi su di un organo da chiesa in sacrestia Ed un dogmatico rispetto Verso le istituzioni Che cosa resterà di me? Del transito terrestre? Di tutte le impressioni che ho avuto in questa vita? Mi piacciono le scelte radicali La morte consapevole che si autoimpose Socrate E la scomparsa misteriosa e unica di Majorana La vita cinica ed interessante di Landolfi Opposto ma vicino a un monaco birmano O la misantropia celeste in Benedetti Michelangeli Anch'io a guardarmi bene vivo da millenni E vengo dritto dalla civiltà più alta dei Sumeri Dall'arte cuneiforme degli Scribi E dormo spesso dentro un sacco a pelo Perché non voglio perdere i contatti con la terra La valle tra i due fiumi della Mesopotamia Che vide alle sue rive Isacco di Ninive Che cosa resterà di noi? Del transito terrestre? Di tutte le impressioni che abbiamo in questa vita? Mesopotamia © 1988 Franco Battiato "Mesopotamia" is a lightly edited version of a song Battiato wrote for Gianni Morandi in 1988 (“Che cosa resterà di me” from the album Dalla/Morandi).

You know that the older you get the more the most distant memories emerge as if it were yesterday. Sometimes I see myself in the arms of my mother and I still feel the tender comments of my father. The lunches, the Sundays at the grandparents, the desires and the irrational explosions, the first steps, joys and disappointments. The first white droplet, what fear and what strange pleasure. And a senseless falling in love for natural laws at that age. The first chords on a church organ in the sacristy, and a dogmatic respect for institutions. What will remain of me? Of my terrestrial transit? Of all the impressions I’ve had in this life? I like the radical choices, the conscious death that Socrates self-imposed, and the mysterious and unique death of Majorana. The cynical and interesting life of Landolfi, the opposite, but near to a Burmese monk. Or the heavenly misanthropy in Benedetti Michelangeli. Even I, to view myself well, have lived for millennia and I come straight from the highest civilization of the Sumer, from the cuneiform art of the Scribes, and I sleep often inside a sleeping bag because I don’t want to lose contact with the earth. The valley between the two rivers of the Mesopotamia that saw at its banks Isaac of Nineveh. What will remain of us? Of our terrestrial transit? Of all the impressions we’ve had in this life? English translation © 2020 Dennis Criteser Giubbe rosse was released in 1989. It captures performances from the winter portion of the Fisiognomica tour, and included four Battiato songs not previously released on any of his albums.

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Fisiognomica - Face Reading

Leggo dentro i tuoi occhi Da quante volte vivi Dal taglío della bocca Se sei disposto all'odio o all'indulgenza Nel tratto del tuo naso Se sei orgoglioso fiero oppure vile I drammi del tuo cuore Li leggo nelle mani Nelle loro falangi Dispendio o tirchieria Da come ridi e siedi So come fai l'amore Quando ti arrabbi Se propendi all'astio o all'onestà Per cose che non sai e non intendi Se sei presuntuoso od umile Negli archi delle unghie Se sei un puro un avido o un meschino Ma se ti senti male Rivolgiti al Signore Credimi siamo niente Dei miseri ruscelli senza Fonte Vedo quando cammini Se sei borioso fragile o indifeso Da come parli e ascolti Il grado di coscienza Nei muscoli del collo e nelle orecchie: Il tipo di tensioni e di chiusure Dal sesso e dal bacino Se sei più uomo o donna Vivere venti o quarant'anni in più è uguale Difficile è capire ciò che è giusto E che l'Eterno non ha avuto inizio Perché la nostra mente è temporale E il corpo vive giustamente Solo questa vita Ma se ti senti male Rivolgiti al Signore Credimi siamo niente Dei miseri ruscelli senza Fonte Fisiognomica © 1988 Franco Battiato "Fisiognomica" gives the advice to "turn back to the Lord." Battiato said that "man believes himself to be at the center of the universe. Instead, he is zero, nothing. And he renders himself ridiculous thinking to decide, to dominate. Man becomes an extraordinary being only if he accepts himself as a nonentity, a minuscule cog in the natural system."

I read within your eyes how many times you have lived, by the cut of your mouth if you are disposed to hatred or indulgence. In the features of your nose if you are proud, fierce or vile. The stories of your heart I read in your hands, in their phalanges, extravagance or stinginess. By how you laugh and sit I know how you make love. When you get mad, if you are inclined to malice or to honesty. For things you don’t know and don’t intend, if you are presumptuous or humble. In the arc of your fingernails, if you are pure, greedy or petty. But if you don’t feel well, turn back to the Lord. Believe me we are nothing, some paltry streams without a Source. I see when you walk if you are pompous, delicate or helpless. By how you talk and listen, the degree of consciousness. In the muscles of the neck and the ears: the type of tensions and of closures. By the sex and by the pelvis, if you are more man or woman. Living twenty or forty years more is all the same – what’s difficult is understanding what is right and that the Eternal didn’t have a beginning, because our mind is temporal and the body lives, rightly so, only this life. But if you don’t feel well, turn back to the Lord. Believe me we are nothing, some paltry streams without a Source. 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, 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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E ti vengo a cercare - And I Come Searching for You

E ti vengo a cercare Anche solo per vederti o parlare Perché ho bisogno della tua presenza Per capire meglio la mia essenza Questo sentimento popolare Nasce da meccaniche divine Un rapimento mistico e sensuale Mi imprigiona a te Dovrei cambiare l'oggetto dei miei desideri Non accontentarmi di piccole gioie quotidiane Fare come un eremita Che rinuncia a sé E ti vengo a cercare Con la scusa di doverti parlare Perché mi piace ciò che pensi e che dici Perché in te vedo le mie radici Questo secolo oramai alla fine Saturo di parassiti senza dignità Mi spinge solo ad essere migliore Con più volontà Emanciparmi dall'incubo delle passioni Cercare l'Uno al di sopra del Bene e del Male Essere un'immagine divina Di questa realtà E ti vengo a cercare Perché sto bene con te Perché ho bisogno della tua presenza E ti vengo a cercare © 1988 Franco Battiato "E ti vengo a cercare" hovers, at first ambiguously, between a worldly falling in love and an otherworldly yearning for spiritual transcendence. The song ends with a fragment of Bach's St. Matthew Passion and makes clear where Battiato is coming from, if there was any doubt after the second verse.

And I come searching for you, even just to see you or to talk, because I need your presence to better understand my essence. This popular feeling is born from divine mechanics. A ravishment mystical and sensual imprisons me to you. I should change the object of my desires, not content myself with small everyday pleasures, make like a hermit who renounces himself. And I come searching for you with the excuse of having to talk to you because I like what you think and what you say, because in you I see my roots. This century now at the end, saturated with parasites, without dignity, it only pushes me to be better with more willpower to emancipate me from the nightmare of passions, to search for the One beyond for better or worse, to be a divine image of this reality. And I come searching for you because I feel good with you, because I need your presence. 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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Veni l'autunnu - Autumn Comes

Stammu un pocu all'umbra Cca c'è troppu suli... Veni l'autunnu Scura cchiù prestu L'albiri peddunu i fogghi E accumincia a scola Da mari già si sentunu i riuturi E a mari già si sentunu i riuturi Mo patri m'insignau lu muraturi Pi nan sapiri leggiri e scriviri è inutili ca 'ntrizzi E fai cannola Lu santu è di mammuru E nan sura Sparunu i bummi Supra a Nunziata 'n cielu fochi di culuri 'n terra aria bruciata E tutti appressu o santu 'nda vanedda Sicilia bedda mia Sicilia bedda Chi stranu e cumplicatu sintimentu Gnonnu ti l'aia diri Li mo peni Cu sapi si si in gradu di capiri No sacciu comu mai Ti vogghiu beni Messmuka issmi khalifa Adrussu 'allurata al 'arabiata Likulli schain uactin ua azan. Likulli schain uactin ua azan. Likulli helm muthabir amal Likulli helm muthabir amal Veni l'autunnu © 1988 Franco Battiato "Veni l'autunnu" is Battiato's love song for Sicily, in a mix of Sicilian dialect and Arabic. According to Battiato, "the lyrics are made almost entirely of traditional citations, many phrases are proverbs, it's like a festival of popular sayings."

We are staying a bit in the shade, here there’s too much sun . . . Autumn comes, it gets dark earlier. The trees lose their leaves and school starts up. From the sea one already hears the surf and at the sea one already hears the surf. My father taught me the mason’s craft not knowing how to read or write. It’s useless to braid and make curls, the saint is of marble and doesn’t sweat. They shoot fireworks above Nunziata, in the sky colored pyrotechnics and on land scorched air, and everyone behind the saint in the back street – my beautiful Sicily, beautiful Sicily. How strange and complicated feelings. One day I have to tell you about my sorrow. Who knows if you are able to understand. I don’t know why I love you. What’s your name? My name is Khalifa. I study the Arabic language. For everything there is a time and a pain. For everything there is a time and a pain. Every persistent dream has hope. Every persistent dream has hope. 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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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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Nomadi - Nomads

Nomadi che cercano gli angoli della tranquillità Nelle nebbie del nord e nei tumulti delle civiltà Tra i chiari scuri e la monotonia Dei giorni che passano Camminatore che vai Cercando la pace al crepuscolo La troverai, la troverai Alla fine della strada Lungo il transito dell'apparente dualità La pioggia di settembre Risveglia i vuoti della mia stanza Ed i lamenti della solitudine Si prolungano Come uno straniero non sento legami di sentimento E me ne andrò Dalle città Nell'attesa del risveglio I viandanti vanno in cerca di ospitalità Nei villaggi assolati E nei bassifondi dell'immensità E si addormentano sopra i guanciali della terra Forestiero che cerchi la dimensione insondabile La troverai, fuori città Alla fine della strada Nomadi © 1985 Juri Camisasca "Nomadi" was written by Battiato's good friend and fellow spiritual seeker Juri Camisasca. In addition to being a songwriter, Camisasca was also a Benedictine monk, then lived as an eremite on the slopes of Mt. Etna. He participated as a singer and narrator in Battiato's opera Genesi. The song is a testimony to taking on an inner search with the goal of reaching an "unfathomable dimension" and a spiritual awakening.

Nomads who look for corners of tranquility in the Northern fogs and in the tumults of societies, between the lights, darks, and monotony of the days that pass. Walker who goes searching for peace at twilight, you’ll find it, you’ll find it at the end of the road. Along the transit of the seeming duality, the rain of September reawakens the emptinesses of my room, and complaints of solitude drag on. Like a foreigner I don’t feel ties of sentiment, and I will leave the city in the expectation of an awakening. The wayfarers go in search of hospitality in the sun-drenched villages and in the slums of the immensity, and they fall asleep on the earth’s pillows. Outsider who searches for the unfathomable dimension, you’ll find it, outside the city at the end of the road. 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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