Caffé de la Paix - Peace Cafe

Ci si risveglia ancora in questo corpo attuale Dopo aver viaggiato dentro il sonno L'inconscio ci comunica coi sogni Frammenti di verità sepolte: Quando fui donna o prete di campagna Un mercenario o un padre di famiglia Per questo in sogno ci si vede un po' diversi E luoghi sconosciuti sono familiari Restano i nomi e cambiano le facce E l'incontrario: tutto può accadere Com'era contagioso e nuovo il cielo.... E c'era qualche cosa in più nell'aria Vieni a prendere un tè Al "Caffé de la Paix"? Su vieni con me Devo difendermi da insidie velenose E cerco di inseguire il sacro quando dormo Volando indietro in epoche passate In cortili, in primavera Le sabbie colorate di un deserto Le rive trasparenti dei ruscelli Vieni a prendere un tè Al "Caffé de la Paix"? Su vieni con me Vieni a prendere un tè Al "Caffé de la Paix"? Su vieni con me Ancora oggi, le renne della tundra Trasportano tribù di nomadi Che percorrono migliaia di chilometri in un anno... E a vederli mi sembrano felici Ti sembrano felici? Caffé de la Paix © 1993 Franco Battiato "Caffé de la Paix" is a song about traveling to past lives and distant epochs through the portal of dreams.

You wake up still in this current body after having traveled around inside sleep. The unconscious communicates with dreams, fragments of truth buried: when I was woman or small-town priest, a mercenary or a family man. For this in dreams you see yourself a little different, and unknown places are familiar. The names remain and the faces change and the reverse: everything can happen, like how the sky was contagious and new . . . and there were some additional things in the air. Come take a tea at the Peace Café? Come along with me. I have to defend myself from poisonous traps and I try to follow the sacred when I sleep, flying back to past epochs, in courtyards, in spring, the colored sands of a desert, the transparent banks of the streams. Come take a tea at the Peace Café? Come along with me. Come take a tea at the Peace Café? Come along with me. Still today, the reindeer of the tundra carry tribes of nomads who cover thousands of kilometers in a year . . . And upon seeing them, they seem happy to me. Do they seem happy to you? English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Fogh in Nakhal - On the Palms

Fogh in-nakhal fogh ya ba fogh in-nakhal fogh medri lama'k khaddak ya ba medri l-ghomar fogh walla marida balini balwa w-inshidni l-batran ya ba lesh wajhak asfar wajhak asfar kull marad ma biyya ya ba min dard il-asmar walla sabini b'ayuno l'helwa Fogh in-nakhal fogh ya ba fogh in-nakhal fogh medri lama'k khaddak ya ba medri l-ghomar fogh walla marida balini balwa walla sabini b'ayuno l'helwa Fogh in-nakhal fogh ya ba fogh in-nakhal fogh medri lama'k khaddak ya ba medri l-ghomar fogh walla marida balini balwa Fogh in Nakhal © 1993 Franco Battiato "Fogh in Nakhal" is a popular Iraqi traditional song, here adapted by Battiato and Angelo Arioli, who also wrote lyrics for two other songs on Caffé de la Paix.

On the palms, up there, on the palms, up there, I don’t know if it’s your cheek that glows or the moon, up there. I don’t want it, but the pain torments me. The insolent one asks me: “Why is your face sallow?” I don’t have a disease: I suffer for that dark-haired person who imprisons me with her sweet eyes. On the palms, up there, on the palms, up there, I don’t know if it’s your cheek that glows or the moon, up there. I don’t want it, but the pain torments me, imprisons me with her sweet eyes. On the palms, up there, on the palms, up there, I don’t know if it’s your cheek that glows or the moon, up there. I don’t want it, but the pain torments me. English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Atlantide - Atlantis

E gli dei tirarono a sorte Si divisero il mondo: Zeus la Terra Ade gli Inferi Poseidon il continente sommerso Apparve Atlantide Immenso, isole e montagne Canali simili ad orbite celesti Il suo re Atlante Conosceva la dottrina della sfera Gli astri la geometria La cabala e l'alchimia In alto il tempio Sei cavalli alati Le statue d'oro, d'avorio e oricalco Per generazioni la legge dimorò Nei principi divini I re mai ebbri delle immense ricchezze E il carattere umano s'insinuò E non sopportarono la felicità Neppure la felicità In un giorno e una notte La distruzione avvenne Tornò nell'acqua Sparì Atlantide Atlantide © 1993 Franco Battiato & Carlotta Weick The lyrics of "Atlantide" were written by Carlotta Weick, pseudonym of the Swiss author Fleur Jaeggy. Battiato inserts some samples from Stockhausen's Momente starting at around 1:00. Stockhausen was an important influence on Battiato's musical development during the 1970s.

And the gods drew lots, divided up the world: Zeus, the Earth, Hades, the Underworld, Poseidon, the submerged continent. Atlantis appeared, immense, islands and mountains, canals similar to celestial orbits. Its king Atlas knew the doctrine of the sphere, the stars, geometry, the Kabbalah and alchemy. High up, the temple, six winged horses, the statues of gold, of ivory and orichalcum. For generations the law abided in divine principles, the kings never intoxicated by the immense riches. And the human character insinuated itself and couldn’t stand the felicity – not even felicity. In one day and one night the destruction came to pass. It returned into the water, Atlantis disappeared. English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Sui giardini della preesistenza - Over the Gardens of Pre-Existence

Torno a cantare il bene e gli splendori Dei sempre più lontani tempi d'oro Quando noi vivevamo in attenzione Perché non c'era posto per il sonno Perché non v'era notte allora Beati nel dominio della Preesistenza Fedeli al regno che era nei Cieli Prima della caduta sulla Terra Prima della rivolta nel dolore Prima della rivolta nel dolore Tu volavi lieve Sui giardini della preeternità Poi ti allungavi Sopra i gelsomini Ho visto dei cavalli in mezzo all'erba Seduti come lo sono spesso i cani E senza tregua vedo buio intorno Voglio di nuovo gioia nel mio cuore Un tempo in alto e pieno di allegria Beati nel dominio della Preesistenza Prima della caduta sulla Terra Prima della rivolta nel dolore Un tempo in alto Sui giardini della preesistenza © 1993 Franco Battiato "Sui giardini della preesisteza" is a song rooted in Sufism, which was the first pillar of Battiato's spiritual life and from which comes the doctrine of a heavenly pre-existence of the soul, far from the suffering and worries that humans experience after they incarnate on this earth.

I turn to sing of the good and the splendors of the ever more distant golden age when we lived in attentiveness, because there was no place for sleep, because then there was no night. Blissful in the domain of Pre-Existence, loyal to the kingdom that was in the Heavens before the fall to Earth, before the uprising in suffering, before the uprising in suffering. You flew gently over the gardens of pre-eternity then you stretched out over the jasmine. I saw some horses in the grass seated like dogs often are, and without respite I see darkness all around. I want joy back in my heart, once high and full of happiness. Blissful in the domain of Pre-Existence, before the fall to Earth, before the uprising in suffering, once high. English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Delenda Cartago - Carthage to Be Destroyed

Per terre incognite vanno le nostre legioni A fondare colonie a immagine di Roma "Delenda Carthago" Con le dita colorate di henna su patrizi triclini Si gustano carni speziate d'aromi d'Oriente; In calici finemente screziati frusciano i vini Le rose, il miele Nei circhi e negli stadi S'ammassano turbe stravolte A celebrare riti di sangue ...Conferendis pecuniis Ergo sollicitae tu causa, pecunia, vitae! Per te immaturum mortis adimus iter; Tu vitiis hominum crudelia pabula praebes Semina curarum de capite orta tuo Delenda Cartago © 1993 Franco Battiato & Angelo Arioli "Delenda Cartago" calls forth a time when some in Imperial Rome wanted to destroy Carthage because of its wealth. Cato the Elder thought the situation dangerous to Rome, and he ended every speech with an admonition that has been abbreviated to "Delenda Cartago est." The first line of the final verse is from the Annals of Tacitus, and the remaining lines are from the Elegies of Propertius.

Our legions go for unknown lands to found colonies in the image of Rome – “Carthage to be destroyed.” With henna-colored fingers on patrician triclinia, meats spiced in flavors of the Orient are enjoyed; in finely mottled chalices swirl the wines, the roses, the honey. In the circuses and in the stadiums mad mobs amass to celebrate blood rituals. . . . Raising money . . . So money you’re the cause of a troubled life! It’s because of you we go death’s path too soon: you offer human vices cruel nurture: from your source the seeds of sorrow spring. English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Ricerca sul terzo - Research on the Third

Mi siedo alla maniera degli antichi Egizi Coi palmi delle mani Dolcemente stesi sulle gambe E il busto eretto e naturale Un minareto verso il cielo Cerco di rilassarmi e abbandonarmi Tanto da non avere più tensioni O affanni Come se fossi entrato in pieno sonno Ma con i sensi sempre più coscienti e svegli E un grande beneficio Prova il corpo, il cuore e la mia mente Che spesso ai suoi pensieri m'incatena Mi incatena Somma la vista Ad occhi chiusi Sottrai la distanza E il terzo scoprirai Che si espande e si ritrova Dividi la differenza Ricerca sul terzo © 1993 Franco Battiato "Ricerca sul terzo" is an instructional description of the type of mediation that Battiato practices. The "third" here is the third eye, the gateway to one's spiritual dimension.

I sit down in the manner of the ancient Egyptians with the palms of my hands gently extended on the legs and torso erect and natural, a minaret towards the sky. I try to relax and abandon myself so as not to have more tensions or anxieties. As if I had entered into full sleep but with the senses always more aware and awake, and a great benefit is felt in the body, the heart, and my mind, that often chains me to its thoughts, it enchains me. Sum up the view with eyes closed. Subtract the distance, and the third you will discover, that you expand and find yourself. Divide the difference. English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Lode all'inviolato - Praise to the Inviolate

Ne abbiamo attraversate di tempeste E quante prove antiche e dure Ed un aiuto chiaro da un'invisibile carezza Di un custode Degna è la vita di colui che è sveglio Ma ancor di più di chi diventa saggio E alla Sua gioia poi si ricongiunge Sia Lode, Lode all'Inviolato E quanti personaggi inutili ho indossato Io e la mia persona quanti ne ha subiti Arido è l'inferno Sterile la sua via Quanti miracoli, disegni e ispirazioni... E poi la sofferenza che ti rende cieco Nelle cadute c'è il perché della Sua Assenza Le nuvole non possono annientare il Sole E lo sapeva bene Paganini Che il diavolo è mancino e subdolo E suona il violino Lode all'inviolato © 1993 Franco Battiato "Lode all'inviolato" is an elegy to those who follow paths seeking their essence and a reunion with the Absolute, here called the Inviolate. Battiato said, "The first time I encountered this divine attribute was reading a book by Attar of Nishapur, called Speech of the Birds."

We have crossed through tempests and so many hard and ancient trials. And an obvious assistance from an invisible caress of a guardian. Worthy is the life of he who is awake, but all the more he who becomes wise and then reconnects to His joy. Praise be, Praise to the Inviolate. And how many useless personages have I worn, me and my persona – how many has it suffered? Hell is barren, sterile its way. How many miracles, designs and inspirations . . . and then the suffering that renders you blind. In the falling there is the why of His Absence. The clouds can’t wipe out the Sun, and Paganini knew well that the devil is left-handed and devious and plays the violin. English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Haiku

Seduto sotto un albero a meditare Mi vedevo immobile danzare con il tempo Come un filo d'erba Che si inchina alla brezza di maggio O alle sue intemperie Alla rugiada che si posa sui fiori Quando s'annuncia l'autunno Assomiglio Io che devo svanire E vorrei Sospendermi nel nulla Ridurmi E diventare nulla Haiku © 1993 Franco Battiato & Angelo Arioli The first four lines of the second verse of "Haiku" are taken from the 1906 Japanese novel Kusumakura (Grass Pillow) by Natsume Sōseki, a novel translated into Italian and published by Battiato's publishing house Ottava. The Persian verse was written by Angelo Arioli, who was a Professor of Arab language and literature at the Italian Institute of Oriental Studies at Sapienza University in Rome.

Seated under a tree to meditate I saw myself unmoving, dancing with the weather like a blade of grass that bows down in the May breeze or to its elements. The rust placed on flowers when autumn announces itself, I resemble. I who must disappear. And I would like to suspend myself in the nothingness, reduce myself and become nothing. English translation © 2020 Dennis Criteser Caffé de la Paix was released in 1993 and sees a return to using rock band instrumentation on some of the songs, combined with both classical/orchestral textures and the use of Eastern ethnic instruments like tabla and tanbur. The album brings together many of Battiato's cultural and musical interests, and the Caffé of its title refers to the Paris café where George Gurdjieff often went to write and to meet his students. The teachings of Gurdjieff are one of the three spiritual pillars in Battiato's life and work, along with Sufism and Tibetan Buddhism.

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Povera patria - Poor Homeland

Povera patria! Schiacciata dagli abusi del potere di gente infame, che non sa cos'è il pudore. Si credono potenti e gli va bene quello che fanno; e tutto gli appartiene. Tra i governanti, quanti perfetti e inutili buffoni! Questo paese è devastato dal dolore... Ma non vi danno un po' di dispiacere quei corpi in terra senza più calore? Non cambierà, non cambierà No, cambierà, forse cambierà. Ma come scusare le iene negli stadi e quelle dei giornali? Nel fango affonda lo stivale dei maiali. Me ne vergogno un poco, e mi fa male vedere un uomo come un animale. Non cambierà, non cambierà Sì che cambierà, vedrai che cambierà. Si può sperare che il mondo torni a quote più normali che possa contemplare il cielo e i fiori che non si parli più di dittature Se avremo ancora un po' da vivere... La primavera intanto tarda ad arrivare. Povera patria © 1991 Franco Battiato "Povera patria" is a devastating look at the failings and ills of Italy's politics. Battiato generally felt that it wasn't an artist's place to address political themes, but his indignation at the state of affairs in Italy pushed him to write this bitter, sad, but clear-eyed assessment that shows him vacillating between hope and despair.

Poor homeland! Smashed by the abuses of power of notorious people who don’t know what decency is. They think themselves potent and are fine with what they do; and everything belongs to them. Among the rulers, such perfect and useless buffoons! This country is devastated by suffering. But don’t they give you some displeasure those bodies in the ground with no warmth left? It won’t change, it won’t change. No, it will change, maybe it will change. But how to excuse the hyenas in the stadiums and those in the news? In the mud sinks the boot of the pigs. I’m a little ashamed, and it sickens me to see a man as an animal. It won’t change, it won’t change. But yes it will change, you’ll see, it will change. One can hope that the world returns to more normal times, that one can contemplate the sky and the flowers, that there’s no more talk of dictators. If we will still have a little longer to live . . . The spring meanwhile is late in arriving. 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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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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