Grasshopper

Here come two reassuring messages... as luck would have it, from two people I forgot to mention in the previous list. But who knows how many others I’ve missed: most of those who frequent debaser are still music enthusiasts, despite everything. However, one cannot help but notice the exponential growth of hobbyist disruptors, those who couldn't care less about music, let alone classical music, and yet, for some reason, they frequent a site dedicated to music. It would be like me entering a site for fans of military airplanes (just to mention a topic I am completely ignorant about and have no interest in) and starting to spout off random opinions about this or that airplane. Why do they do it?

Hal, JohnOfPatmos, odradek, josi_, Wanderer, Mullah, shark, Eneathedevil, Lello, The Mad Pianist, aniel and others that I surely forgot... It was a pleasure to discuss classical music with you, and it's not that long ago, maybe just a few months. Now every time I enter debaser I find it a bit emptier, but maybe it's just a wave of nostalgia that will pass quickly.

Yes, indeed Beethoven seems to have been quite a decent musician, perhaps (let's take a bit of a leap here) even good, come on... (N.B.: "Spiritosone" was directed at Kraut)

Spirited one!

And why? The important thing is that Kolossal's judgment is related to my review and not to Beethoven's works. In that case, one might suggest an urgent ear examination, but otherwise I don't see why the good Kolossal should necessarily consider my review a masterpiece...

As usual, I arrive after the fireworks, that is, after the weekend during which I don't touch a computer, and in addition to an incredible series of compliments, even exaggerated, I find an interesting point raised by Hal, on which I have very little time to reflect from my uncomfortable workstation (at the office). However, it’s enough to say that I find this distinction absolutely spot on, interpreting it as Bach = superhuman because endowed at the same time with profound spirituality (that of the Passions or the Cantatas) and absolute rationality, like a mathematician (that of the Art of Fugue or the Well-Tempered Clavier). Beethoven, on the other hand, is the übermensch, albeit not in the philosophical sense (that would be more Wagner) but in the sense of heroic spirit, of a titan who, through the power of his Art, triumphs against fate, which, as we know, knocks at the door with the first four notes of the Fifth Symphony. Yes, it seems to me a well-founded distinction, and after all, it's no coincidence that it comes from Roman Vlad, who is not Dario Salvatori...

Dear cofras, your rating is overly generous, and the criticism about the excessive brevity is fully shared. I simply justify myself with the fact that I was at my first or second review, and thus, being as diligent as I am, I was trying to adhere to the editors' guidelines. I set myself a limit of 3600 characters, since the recommended limit (1800) doesn’t even allow for writing a greeting card. Regarding the enigmatic nature of "Anime salve", that’s just my impression, and as such, it is entirely subjective, as you have already pointed out.

G stands for "genius"?

Yes, it's true, in those gloomy reverberations of the guitar you can hear the dust, the same hopeless desolation of those immense arid expanses of the Southern states that the desperate wanderers in Faulkner's novels traverse. A quote worth a 5. Sometimes you can perfectly capture the spirit of a piece of music even without being analytical, and this is one of those cases.

Given that it was a Dalla now in free fall towards the mediocre (Canzone, Ciao, and similar trivialities), this album is one of the less bad ones. I'd say it deserves a meager pass, mainly thanks to "Le rondini," "2009," "Bella," and (can we say it?) "Comunista," a remnant of the engaged, "roversian" Dalla of the early '70s. Of course, there is also quite a bit of ballast, among which I would undoubtedly include the track that overshadowed the better ones, namely the infamous "Attenti al lupo." The market is a bit like a drone fly: it spins and twists, and you always know where it’s going to land; it's almost mathematical... Of course, primiballi is right: "Com'è profondo il mare" was at another level, but even Dalla '79 and Dalla '80 compared to this were masterpieces.