L'Era del Cinghiale Bianco - The Age of the White Boar

In 1975, Battiato met Karlheinz Stockhausen, who encouraged him to learn traditional music notation and to study music theory. Battiato set himself on a course of self-study and immersed himself in the world of classical music. He also studied violin with Giusto Pio, who became a collaborator and musician on many subsequent albums. From 1976 through 1979 Battiato practically lived the life of a hermit as he pursued his sonic and musical research. He emerged occasionally to concertize, presentations that were long on improvisation based on various themes he was exploring and developing. He also continued to write music and produce work for other artists. Battiato’s own albums during these years were minimalist “contemporary classical” in nature, leaning on the piano, violin, voice, and occasionally other orchestral instruments for their tonality. The 1978 album Egitto prima delle sabie won the prestigious Stockhausen Prize in 1979 for works for solo piano. Once again, however, Battiato felt a calling to pursue a new musical direction and to break out of his cloistered existence. The “three-minute song form” became his new field of research and endeavor, and his goal was to connect with a larger audience, not by reflecting their world back to them but by describing his own internal worlds in a language that could be understood by all. L’Era del Cinghiale Bianco was his opening gambit.

L'Era del Cinghiale Bianco - The Age of the White Boar

Pieni gli alberghi a Tunisi per le vacanze estive A volte un temporale non ci faceva uscire Un uomo di una certa età Mi offriva spesso sigarette turche Ma spero che ritorni presto l'Era del Cinghiale Bianco Spero che ritorni presto l'Era del Cinghiale Bianco Profumi indescrivibili nell'aria della sera Studenti di Damasco vestiti tutti uguali L'ombra della mia identità Mentre sedevo al cinema oppure in un bar Ma spero che ritorni presto l'Era del Cinghiale Bianco Spero che ritorni presto l'Era del Cinghiale Bianco L'Era del Cinghiale Bianco © 1979 Franco Battiato The lyrics of "L'Era del Cinghiale Bianco" are classic Battiato. He strings together images and sensations to create a world in which he is living, and from which he then yearns to be delivered to a sacred higher ground.

Full, the hotels in Tunis for the summer holidays. At times a storm kept us from going out. A man of a certain age regularly offered me Turkish cigarettes. But I hope that soon shall return the Age of the White Boar. I hope that soon shall return the Age of the White Boar. Indescribable scents in the night air, students of Damascus all dressed alike, the shadow of my identity while I sat in the cinema or in a café. But I hope that soon shall return the Age of the White Boar. But I hope that soon shall return the Age of the White Boar. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Magic Shop

C'è chi parte con un raga della sera E finisce per cantare "la Paloma" E giorni di digiuno e di silenzio Per fare i cori nelle messe tipo Amanda Lear Vuoi vedere che l'Età dell'Oro Era appena l'ombra di Wall Street? La Falce non fa più pensare al grano Il grano invece fa pensare ai soldi E più si cresce e più mestieri nuovi Gli artisti pop, i manifesti ai muri I Mantra e gli Hare Hare a mille lire L'Esoterismo di René Guénon Una Signora vende corpi astrali I Budda vanno sopra i comodini Deduco da una frase del Vangelo Che è meglio un imbianchino di Le Corbusier Eterna è tutta l'arte dei Musei Carine le Piramidi d'Egitto Un po' naifs i Lama tibetani Lucidi e geniali i giornalisti Supermercati coi reparti sacri che vendono Gli incensi di Dior Rubriche aperte sui peli del Papa Magic Shop © 1979 Franco Battiato "Magic Shop" is a commentary on the commercialization of art, culture and religion in the New Age movement.

There are those who start off with an evening raga and end up singing “La Paloma.” And days of fasting and silence to sing harmonies in the masses à la Amanda Lear. Do you want to bet that the Golden Age was but a mere shadow of Wall Street? The scythe no longer makes you think of grain; instead, dough makes you think of money. The more you grow up, the more new professions: pop artists, handbills on the walls. Mantras and the “Hare Hare” for a thousand lira, the esotericism of René Guénon. A lady sells astral bodies – the Buddhas go above the night stands. I deduce from a line in the Bible that a housepainter is better than Le Corbusier. Eternal is all the art of the museums, cute the pyramids of Egypt. A little “naïve art” the Tibetan lamas, clear and brilliant the journalists. Supermarkets with holy departments that sell the incenses of Dior, opinion columns on the hairs of the Pope. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Strade dell'Est - Roads of the East

Carichi i treni che dall'Albania Portano tanti stranieri in Siberia Tappeti antichi mercanti indiani Mettono su case tra Russia e Cina Strade dell'Est Spinto da i Turchi e dagli Iracheni Qui fece campo Mustafà Mullah Barazani Strade dell'Est d'immensi orizzonti Città nascoste di lingua persiana Da qui la Fine Dicono storie di Principesse Chiuse in castelli per troppa bellezza Fiori di Loto giardini stupendi ...e Leningrado oggi Di notte ancora ti può capitare Di udire suoni di armonium sfiatati E vecchi curdi che da mille anni Offrono il petto a Novene... Strade dell'Est Strade dell'Est © 1979 Franco Battiato "Strade dell'Est" references Mustafà Mullah Barzani, who was the primary political and military leader of the Kurdish revolution until his death in March 1979. He led campaigns of armed struggle against both the Iraqi and Iranian governments. A Novena is an ancient tradition of devotional praying in Christianity. The song starts with some fine bass playing; the bassist on the entire album was Julius Farmer, who hailed from New Orleans and played with Professor Longhair, Dr. John and the Wild Magnolias - no wonder it sounds so great!

Laden, the trains that from Albania carry so many foreigners to Siberia. Antique carpets Indian merchants place in houses between Russia and China. Roads of the East. Driven by the Turks and by the Iraqis here Mustafà Mullah Barzani set up camp. Roads of the East of immense horizons, lost cities of Persian language. From here the End. They tell tales of Princesses kept in castles – too great was their beauty. Lotus flowers, stupendous gardens . . . and Leningrad today. At night you can still happen upon hearing the sounds of aerophone harmoniums, and old Kurds who for a thousand years have offered their souls at Novenas . . . roads of the East. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Il Re del Mondo - The King of the World

Strano come il rombo degli aerei da caccia un tempo Stonasse con il ritmo delle piante al sole sui balconi ... E poi silenzio ... e poi, lontano Il tuono dei cannoni, a freddo ... E dalle radio dei segnali in codice Un giorno in cielo, fuochi di Bengala ... Ia Pace ritornò Ma il Re del Mondo Ci tiene prigioniero il cuore Nei vestiti bianchi a ruota ... Echi delle danze sufi ... Nelle metro giapponesi, oggi Macchine d'ossigeno Più diventa tutto inutile E più credi che sia vero E il giorno della fine Non ti servirà l'Inglese ... E sulle biciclette verso casa La vita ci sfiorò Ma il Re del Mondo Ci tiene prigioniero il cuore Il Re del Mondo © 1979 Franco Battiato "Il Re del Mondo" refers to a book by René Guénon. One of the mainsprings of Guénon’s thought is the idea that the society of the modern West is not a triumph of evolution (an idea he despised) but rather a reflection of an extremely degenerate age that he equated with the Hindu Kali Yuga, or Age of Darkness. One corollary of this idea is the belief that humanity did have a connection with a sacred centre and hierarchy – in prehistoric times – but this connection has been obscured and to all practical purposes lost. Thus it was natural for Guénon to hold to an idea of a hidden sacred kingdom. “This ‘Holy Land,’ which is defended by guardians who keep it hidden from profane view while ensuring a certain exterior communication, is to all intents and purposes inaccessible and invisible to all except those possessing the necessary qualifications for entry,” he wrote. The song intro is an intriguing mix of time signatures (starting with the first minor chord: 4, 5, 4, 4, 4, 3, then alternating 3-4-3s on the alternating major and minor chords), keeping you a little off balance until the regular groove of the song kicks in.

Strange how the rumble of the fighter planes one time clashed with the rhythm of the plants in the sun on the balconies . . . and then silence . . . and then, far away the thunder of cannons, with cold intention . . . and from the radios some signals in code. One day in the sky, Bengal sparkler fireworks. . . peace returned, but the King of the World holds prisoner our heart. In their whirling white garb . . . echoes of Sufi dances . . . In Japanese metros, today, oxygen machines. The more everything becomes useless, the more you believe it’s true. And on the final day English won’t do you any good. . . . and on the bicycles near home life touched us, but the King of the World holds prisoner our heart. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Pasqua etiope - Egyptian Passover

Requiem aeternam dona eis Domine Et lux perpetua luceat eis Te decet hymnus deus in Sion Et tibi reddetur votum in Jerusalem Exaudi orationem meam ad te omnis caro veniet Kyrie eleison, Christe eleison Kyrie eleison, Khriste eleison Pasqua etiope © 1979 Franco Battiato "Pasqua etiope" combines the texts for the Introit and the Kyrie Eleison of the Requiem Mass into a lovely pop prayer. Was there anything being made like this in popular music in 1979?

Eternal rest give unto them, O Lord, and let perpetual light shine upon them. A hymn, O God, becometh Thee in Zion; and a vow shall be paid to Thee in Jerusalem: hear my prayer; all flesh shall come to Thee. Lord have mercy, Christ have mercy. Lord have mercy, Christ have mercy. L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Stranizza d'amuri - Strangeness of Love

'Ndo vadduni da Scammacca I carritteri ogni tantu Lassaunu i loru bisogni E i muscuni ci abbulaunu supra Jeumu a caccia di lucettuli ... A litturina da Ciccum-Etnea I saggi ginnici, 'u Nabuccu A scola sta finennu Man manu ca passunu i jonna Sta frevi mi trasi 'nda ll'ossa Ccu tuttu ca fora c'è a guerra Mi sentu stranizza d'amuri L'amuri E quannu t'ancontru 'nda strata Mi veni 'na scossa 'ndo cori Ccu tuttu ca fora si mori Na mori stranizza d'amuri L'amuri E quannu t'ancontru 'nda strata Mi veni 'na scossa 'ndo cori Ccu tuttu ca fora si mori Na mori stranizza d'amuri L'amuri Man manu ca passunu i jonna Sta frevi mi trasi 'nda ll'ossa Ccu tuttu ca fora c'è a guerra Mi sentu stranizza d'amuri L'amuri Stranizza d'amuri © 1979 Franco Battiato "Stranizza d'amuri" is in the Sicilian dialect, and is somewhat of a rarity for Battiato - a love song - though not the schmaltzy type that eventually turned him off when he was trying to establish himself as a singer in the period from 1965-1968. The song is in 7/4 time, which is quite unusual; Pink Floyd's "Money" is another such song.

In Scammacca Valley the wagoners every so often did their business and the mosquitos flew over. We went on lizard hunts . . . the boxcar of the Circumetnea the gym tests, Nabucco, school is wrapping up. Gradually as the days pass this fever enters my bones. Even if outside there’s a war, I feel a strangeness of love. Love. And when I meet you on the street, comes a tremor in my heart, and even if outside there is dying, this strangeness of love doesn’t die. Love. And when I meet you on the street, comes a tremor in my heart, and even if outside there is dying, this strangeness of love doesn’t die. Love. Gradually as the days pass this fever enters my bones. Even if outside there’s a war, I feel a strangeness of love. Love. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Hiver - Winter

En ce temps là je dormais dans un petit lit dans un coin, et j’obserais cet ami, veuf qui partageait son existence avec moi. Quelquefois dans le crèpuscule la monotonie, Mais J’ætais douce, je me pliais æ ce que je Supposais etre l’ordre fe l’univers Il ouvrait les fenêtres pour laisser entrer un peu d’aire et Quand il neigeait, le ven soufflait la neige, Et tous les deux assis on attendait Que l’hiver continue. Hiver © 1978 Franco Battiato & Fleur Jaeggy The lyrics for "Hiver" are taken from a novel, The Water Statues, by the Swiss writer Fleur Jaeggy, who writes in Italian, here translated into French.

At that time I was sleeping in a small bed, in a corner, and I would observe this friend, a widower, who was sharing his existence with me. Sometimes in the twilight, the monotony . . . But I was sweet, I was complaining that I was supposed to be the order of the universe. He opened the windows to let in a little air and, when it was snowing, the wind blew in the snow, and we both sat there waiting for the winter to continue. English translation © 2020 Juke Box was released in 1978, and the mostly instrumental music was originally composed for a film about Filippo Brunelleschi. "Abstract romanticism, dry, astringent violin drones, repeated descending piano notes and operatic vocals (provided by Alide Maria Salvetta and Juri Camisasca) with a distinct experimental and esoteric vibe. An insular and introverted place in music. ” – SoundOhm review.

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Agnus Dei - Lamb of God

Agnus Dei Qui tollis peccata mundi Miserere dona eis requiem Agnus Dei Qui tollis peccata mundi Agnus Dei Miserere nobis Agnus Dei Qui tollis peccata mundi Miserere nobis Agnus Dei music © 1978 Franco Battiato Agnus dei is a title for Jesus found in the Gospel of John, and is a liturgical prayer used during Mass in the Roman Catholic Church. It has been used many choral pieces over the years.

Lamb of God Who takes away the sins of the world Have mercy, rest give unto them. Lamb of God Who takes away the sins of the world Lamb of God Have mercy on us Lamb of God Who takes away the sins of the world Have mercy on us English translation based on Google translation Juke Box was released in 1978, and the mostly instrumental music was originally composed for a film about Filippo Brunelleschi. "Abstract romanticism, dry, astringent violin drones, repeated descending piano notes and operatic vocals (provided by Alide Maria Salvetta and Juri Camisasca) with a distinct experimental and esoteric vibe. An insular and introverted place in music. ” – SoundOhm review.

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No U Turn

Per conoscere Me e le mie verità Io ho combattuto Fantasmi di angosce Con perdite di io Per distruggere Vecchie realtà Ho galleggiato Su mari di irrazionalità Ho dormito per non morire Buttando i miei miti di carta Su cieli di schizophrenia No U Turn © 1974 Franco Battiato The lyrics of this song refer to the psychological crisis Battiato experienced in the summer of 1973 when he moved to New York City to find a new musical direction from that of his first two albums.

To know myself and my truths I battled phantasms of anguish with losses of the “I.” To destroy old realities I floated on seas of irrationality. I slept to not die, throwing my paper myths onto skies of schizophrenia. English translation © 2020 Dennis Criteser “On his fourth album, Clic, Franco Battiato moves further out – into realms of pure and elemental approaches to sound – to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution. Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only "No U Turn" bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions.” – Superior Viaduct review.

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Sulle corde di Aries - On the Strings of Aries

After the release of his first album, Fetus, Battiato performed regularly and continued to do so through the making of his second album, Pollution. Meanwhile his publicity firm was developing the image of Battiato as an iconoclastic avant-garde artist, a musician who remained distant from his public, confronting them with challenging material in the process of repudiating traditional Italian music tastes. Some concerts got out of control as audience members became rowdy and fights broke out. Battiato grew ever more uncomfortable with this public persona. He cared more about creating new music and felt the need to exit the path he was on. So he distanced himself from his collaborators/promoters and moved to New York City to “find himself.” Instead of experiencing creative renewal, he fell into a deep state of spiritual crisis and isolation. Ending his life seemed like the best solution. One night he surrendered to his despair, only to find himself in an exalted state of being that he’d only previously experienced in his reveries while exploring the new electronic sounds of his VCS3 synthesizer. He returned to Sicily and realized he needed to build into his daily life a routine of retreat and meditation. Battiato said, “During the recording of this album I discovered my road, my instinctive nature, in the primordial sense.”

Sequenze e frequenze - Sequences and Frequencies

La maestra in estate Ci dava ripetizioni Nel suo cortile Io stavo sempre seduto Sopra un muretto A guardare il mare Ogni tanto passava una nave Ogni tanto passava una nave E le sere d'inverno Restavo rinchiuso in casa Ad ammuffire Fuori il rumore dei tuoni Rimpiccioliva la mia candela Al mattino improvviso il sereno Mi portava un profumo di terra Sequenze e frequenze © 1973 Franco Battiato Battiato brings together two images of himself from his childhood, one in summer and one in winter. He has said that the message of this song is that each one of us needs to find our own solutions in ourselves, which is possible only through the purification of oneself.

The teacher in summer tutored us in her courtyard. I was always seated on top of a little wall, to watch the sea . . . every once in a while a ship passed, every once in a while a ship passed. And during the winter evenings I stayed locked inside in the house to moulder. Outside, the sound of the thunder, my candle reduced down. In the morning, suddenly the calm brought to me a scent of earth. English translation © 2020 Dennis Criteser “Franco Battiato is often heralded as Italy's answer to Brian Eno. . . (Battiato) turned pop music upside down in the early '70s with three classic LPs – Fetus, Pollution and Sulle Corde Di Aries – that formed a confluence of avant-folk sensibilities and analog electronics. . . 1973's Sulle Corde Di Aries is the third chapter in Battiato's foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit – eschewing traditional, song-based composition in favor of kosmische voyages. On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. . . While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.” – Superior Viaduct review.

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