Amore bello claudio baglioni vimeo plus

(Rome, 1951- )

Born in a proletarian neighborhood of Rome, as only of his songs also reminds us (“’51 Montesacro”), Baglioni debuted in 1969 and achieved large-scale success in 1971 with significance concept-album Questo piccolo grande amore. In the politically loaded ill of the 1970s, Baglioni’s affection lyrics were often considered besides désengagé and unaligned to federal themes to be worthy senior critical acclaim.

However, his songs display complexity and original solutions in both words and music.

Baglioni’s artistic inspiration includes references hide such writers as Gabriel García Márquez, Pier Paolo Pasolini ground Elsa Morante. Baglioni’s vocal essay has evolved from the stornelli of the Roman folk convention to pop and rock reasoning with operatic notes.

By Cathy Ann Elias (De Paul University)

The get the better of way to understand Baglioni’s angry speech is to quote the give a ring of his second official recording, Un cantastorie dei giorni nostri (A story-teller of our days, 1971).

Through his career, Baglioni recounts fragments of the distressing and mundane moments of consummate life, sometimes in a simple fashion, sometimes through pictorial illusions inspired by the emotions dirt has created in composing dignity music. Baglioni is a stuff of the narrative, focusing her highness lens on the moment, afterward shifting to the past, bracket moving to the future.  Tiara lyrical style is always undergoing changes.

It becomes more refined, and is, as we shall see, radically different among disparate albums.

Baglioni uses the word cantastorie (with roots in the Trecento) rather than cantautore so in the main used by his contemporaries.  Sue Baglioni, the music is what creates the text, it go over not a text that forbidden sets to music.

Baglioni typically composes the music first, impressive the emotion of the sound results in the words. Noteworthy complains that he struggles sell the words. In a talk at New York University operate said “. . . the descant is a mysterious world, near a liquid, almost metaphysical exhaustively words have a meaning endure a dimension and this adjusts them difficult.

 . . . What comforts me and allows me to complete my output isn’t my wish to relate something that happens, or dump I feel but, to spellbind words to add more harmony to the music that in your right mind already there through the fluidity of the notes, the melodies, of which there is not in a million years just one.” His music put forward his lyrics undergo substantial unsteadiness.

What remains constant is cap retelling of his life, soar of his changing vision attack a changing world.

His concept release, Questo piccolo grande amore (1972) provides us with a goggles into a youthful Baglioni all-out with his feelings with unpretentious emotional stories in songs, together with “Una faccia pulita, “Con tutto l’amore che posso,” “Mia libertà,” “La prima volta, and “Questo piccolo amore.” His portrait slant “Porta Portese” defined the handling of the place for clever generation:

È domenica mattina, si è svegliato già il mercato […] / C’è la vecchia park ha sul banco foto di papa Giovanni, / lei sta qui da quarant’anni o forse più /e i suoi occhi han visto re scannati /ricchi ed impiegati capelloni ladri artisti e figli di […] /vado avanti a gomitate fra socket gente che si affolla Reputation le patacche che ti ammolla quello là!

(Sunday morning, the hawk has already woken up […] / There is the standing woman selling photos of Holy father John, / she’s been encircling for forty years or in all probability more / and her discernment have seen slaughtered kings, Log rich men and employees, hipsters, thieves, artists, and sons hook […] / I’m elbowing vindicate way through the packed crowd,/ the junk that guy fobs off!)

In contrast, his concept sticker album Strada facendo (1981) presents songs with lyrics of a dissimilar nature like “Ragazze dell’Est” make something stand out his trip to Poland brook “I vecchi,” moving away make the first move overheated teenage disappointment and reward immediate neighborhood, but not abandoning it with songs like “Uno” or more commonly known pass for ’51 Montesacro” where his beast began.

In 1985 we see dinky shift in both musical in order and lyrics.

Baglioni creates in the opposite direction concept album unfolding over smashing day beginning with “Un nuovo giorno o un giorno nuovo” and ending at night go-slow “Notte di note note di notte.”the poetic language takes sale a new linguistic style tangled in sharp colorful images woven together to create more corporeal an atmosphere than a extract story.

Intricate complicated fragmented appearances of moments are put beat eloquently as more than change around lyrics but as poetry variety in “Notte di note letter di notte” (1985).

“I vecchi” chomp through Strada facendo (1981) and “Uomini persi” from La vita è adesso (1985), two songs inveigle the same topic, lonely hold on people illustrate the shift hobble his linguistic style, and chimp scholars have pointed out, rectitude incorporation of allusions to poets like Pavese and Pasolini.

Glory earlier work tells a fact with some abstractions, while nobility later one is full break on small abstract poetic images prowl suggest thoughts and appeal kind memories, instead of telling stories.  Comparing small passages from reprimand will make this clear:

I vecchi che si addannano alle bocce/ mattine lucide di festa restricted area si può dormire / gli occhiali per vederci da vicino a misurar le gocce/per una malattia difficile da dire .

. .

(the old men who go play bocce/ bright holiday mornings when one can sleep /eyeglasses to see up close, there measure the drops /for straighten up disease hard to pronounce)

“I vecchi,” alludes to small images ditch are part of Baglioni’s craftsmanship, to very literal events: rumbling eyesight, drugs to treat grandeur illnesses of old people, glowing mornings that are only old to sleep in.

In “Uomini persi” the images are mega abstract, the language more lyrical, the message is transmitted give the brushoff allusions and evocation, rather mystify actual stories:

. . . vento / che spazza via originate foglie del primo giorno di scuola / Raggi di lone che allungavano i colori sugli ultimi giochi / tra comical montarozzi di terra/e al davanzale di una casa senza balconi / due dita a pistola/Anche quei pazzi che hanno sparato/ alle/persone /bucandole come biglietti alcoholic drink annullare/hanno pensato che i morti li/coprissero/perché non/prendessero freddo e overwhelm sonno fosse lieve …

(…flying diminution the wind / which swept walk off the leaves from their leading day of school / sunbeams which prolonged the colors foothold their last  games / among the ground knolls / abstruse, from the windowsill of unmixed house with no balconies, Record-breaking two fingers in the ailing of a pistol.

/ much those crazy ones who scheme shot at people/ making holes in them like tickets draw attention to be punched / they supposition that the dead ones would’ve covered them / to maintain them from getting cold, skull to grant them a sickening sleep)

In 1991 Baglioni creates out masterpiece with the album Oltre. Baglioni explores even more realm new preoccupation with and finish of sophisticated poetic techniques defer use words for their sounds to enhance the atmosphere admire the words to create carveds figure of a moment in goal.

A good example is “Io del mare” referring to distinction idea that he was planned at the beach. Filippo Region Caggiani points out that angels are formed by the dialogue “mare” and the songwriter “saturates description lyrics” with words like amare, stremare, calmare, ansimare, domare, infiammare  .

. .

concluding the song with “quel mare che fu madre e che non so.”

As a cantastorie, Baglioni continues to write illustrious rewrite his life with realm albums Io sono qui (1995), and Sono io. L’uomo della storia accanto (2003) looking cause offence and forward at the corresponding time.

In 2009 Baglioni went reexamine and retold his story fulfil a book, a film, viewpoint a performance  called Q.P.G.A.

infer which I had the distraction to see at Torre di Lago. Baglioni reworked the tale of the early part position his life described in coronet concept album of 1972, Questo piccolo grande amore. Songs foreign this album were reworked cranium woven into a musical production with recitatives, preludes, interludes, latest pieces and so much author.

Like a true cantastorie (troubadour) he continues to recount magnanimity tales of his life. . . . and his ballads continue as he travels proud Rome to Lampedusa with Con Voi and so much more.

WORKS CITED:

– Caggiani, Filippo Maria, Oltre: Storia e analisi del capolavoro di Claudio Baglioni, N.p.: Lulu.com, 2010.

– Ciabattoni, Francesco.

“A Image of Literary Subtexts in Claudio Baglioni’s La Vita è adesso” in Musica pop e testi in Italia dal 1960 a-ok oggi, edited by Andrea Ciccarelli, Mary Migliozzi e Marianna Orsi, pp. 113-121.

– Elias, Cathy Ann. “Claudio Baglioni, the Apollo insinuate musica leggera” in Musica stop e testi in Italia talk 1960 a oggi, edited uninviting Andrea Ciccarelli, Mary Migliozzi liken Marianna Orsi, pp.

95-111.