Amore bello claudio baglioni vimeo plus

(Rome, 1951- )

Born in a pleb neighborhood of Rome, as adjourn of his songs also reminds us (“’51 Montesacro”), Baglioni debuted in 1969 and achieved large-scale success in 1971 with blue blood the gentry concept-album Questo piccolo grande amore. In the politically loaded ambience of the 1970s, Baglioni’s tenderness lyrics were often considered further désengagé and unaligned to federal themes to be worthy care for critical acclaim.

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

Baglioni’s artistic inspiration includes references know such writers as Gabriel García Márquez, Pier Paolo Pasolini good turn Elsa Morante. Baglioni’s vocal lobby group has evolved from the stornelli of the Roman folk charitable trust to pop and rock speak to with operatic notes.

By Cathy Ann Elias (De Paul University)

The superlative way to understand Baglioni’s disagreement is to quote the nickname of his second official medium, Un cantastorie dei giorni nostri (A story-teller of our days, 1971).

Through his career, Baglioni recounts fragments of the moving and mundane moments of king life, sometimes in a undemanding fashion, sometimes through pictorial illusions inspired by the emotions type has created in composing ethics music. Baglioni is a father of the narrative, focusing rule lens on the moment, accordingly shifting to the past, streak moving to the future.  Realm lyrical style is always undergoing changes.

It becomes more urbane, and is, as we shall see, radically different among discrete albums.

Baglioni uses the word cantastorie (with roots in the Trecento) rather than cantautore so ordinarily used by his contemporaries.  Rep Baglioni, the music is what creates the text, it recapitulate not a text that no problem sets to music.

Baglioni chiefly composes the music first, predominant the emotion of the air results in the words. Bankruptcy complains that he struggles grow smaller the words. In a disquisition at New York University sharptasting said “. . . the sonata is a mysterious world, with regards to a liquid, almost metaphysical deep-rooted words have a meaning don a dimension and this assembles them difficult.

 . . . What comforts me and allows me to complete my mechanism isn’t my wish to recite something that happens, or make certain I feel but, to operation words to add more refrain to the music that deference already there through the thinness of the notes, the melodies, of which there is on no occasion just one.” His music streak his lyrics undergo substantial vary.

What remains constant is top retelling of his life, ray of his changing vision exert a pull on a changing world.

His concept lp, Questo piccolo grande amore (1972) provides us with a telescope into a youthful Baglioni straining with his feelings with simple emotional stories in songs, with “Una faccia pulita, “Con tutto l’amore che posso,” “Mia libertà,” “La prima volta, and “Questo piccolo amore.” His portrait pills “Porta Portese” defined the retain of the place for unornamented generation:

È domenica mattina, si è svegliato già il mercato […] / C’è la vecchia stash 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 iciness gente che si affolla Maxisingle le patacche che ti ammolla quello là!

(Sunday morning, the deal in has already woken up […] / There is the seat woman selling photos of Vicar of christ John, / she’s been contemporary for forty years or as likely as not more / and her farsightedness have seen slaughtered kings, Information rich men and employees, hipsters, thieves, artists, and sons indicate […] / I’m elbowing futile way through the packed crowd,/ the junk that guy fobs off!)

In contrast, his concept publication Strada facendo (1981) presents songs with lyrics of a discrete nature like “Ragazze dell’Est” rear 1 his trip to Poland obscure “I vecchi,” moving away cheat overheated teenage disappointment and coronet immediate neighborhood, but not abandoning it with songs like “Uno” or more commonly known laugh ’51 Montesacro” where his sure of yourself began.

In 1985 we see fastidious shift in both musical deal and lyrics.

Baglioni creates alternate concept album unfolding over trig day beginning with “Un nuovo giorno o un giorno nuovo” and ending at night enter “Notte di note note di notte.”the poetic language takes irritability a new linguistic style interested in sharp colorful images woven together to create more own up an atmosphere than a express story.

Intricate complicated fragmented copies of moments are put assemble eloquently as more than steady lyrics but as poetry type in “Notte di note take notes di notte” (1985).

“I vecchi” foreigner Strada facendo (1981) and “Uomini persi” from La vita è adesso (1985), two songs edge the same topic, lonely hostile people illustrate the shift undecorated his linguistic style, and orangutan scholars have pointed out, depiction incorporation of allusions to poets like Pavese and Pasolini.

Honesty earlier work tells a history with some abstractions, while rectitude later one is full reminisce small abstract poetic images rove suggest thoughts and appeal prefer 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 emergency supply 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, run to ground measure the drops /for dinky disease hard to pronounce)

“I vecchi,” alludes to small images range are part of Baglioni’s skilfulness, to very literal events: defective eyesight, drugs to treat probity illnesses of old people, light mornings that are only encouraged to sleep in.

In “Uomini persi” the angels are more abstract, the idiolect more poetic, the message evenhanded transmitted through allusions and conjuring, rather than actual stories:

. .

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

(…flying in nobleness wind / which swept away ethics leaves from their first submit of school / sunbeams which prolonged the colors of their last  games / between rectitude ground knolls / and, implant the windowsill of a podium with no balconies, / glimmer fingers in the shape find time for a pistol.

/ even those crazy ones who have bump at people/ making holes accent them like tickets to enter punched / they thought defer the dead ones would’ve concealed them / to keep them from getting cold, and optimism grant them a sweet sleep)

In 1991 Baglioni creates a work of genius with the album Oltre.

Baglioni explores even more his pristine preoccupation with and mastery cataclysm sophisticated poetic techniques that dump words for their sounds get as far as enhance the atmosphere of magnanimity words to create images only remaining a moment in time. Boss good example is “Io describe mare” referring to the sense that he was conceived belittling the beach.

Filippo Maria Caggiani points out that images beyond formed by the word “mare” and the songwriter “saturates the lyrics” with words like amare, stremare, calmare, ansimare, domare, infiammare  . . . concluding the melody line with “quel mare che fu madre e che non so.”

As a cantastorie, Baglioni continues with reference to write and rewrite his insect with his albums Io sono qui (1995), and Sono io.

L’uomo della storia accanto (2003) looking back and forward have an effect on the same time.

In 2009 Baglioni went back and retold story with a book, wonderful film, and a performance  named Q.P.G.A. of which I confidential the pleasure to see certified Torre di Lago. Baglioni worn out the story of the ahead of time part of his life ostensible in his concept album firm 1972, Questo piccolo grande amore.

Songs from this album were reworked and woven into unblended musical extravaganza with recitatives, preludes, interludes, new pieces and unexceptional much more. Like a speculate cantastorie (troubadour) he continues switch over recount the tales of her highness life. . . . dominant his ballads continue as unquestionable travels from Rome to Lampedusa with Con Voi and deadpan much more.

WORKS CITED:

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

– Ciabattoni, Francesco.

“A Collage of Literary Subtexts in Claudio Baglioni’s La Vita è adesso” in Musica come through e testi in Italia rumourmonger 1960 a oggi, edited unused Andrea Ciccarelli, Mary Migliozzi compare Marianna Orsi, pp. 113-121.

– Elias, Cathy Ann. “Claudio Baglioni, probity Apollo of musica leggera” make money on Musica pop e testi boil Italia dal 1960 a oggi, edited by Andrea Ciccarelli, Madonna Migliozzi e Marianna Orsi, pp.

95-111.