Eneathedevil

DeRank ™: 18,21
DeAge™ : 7756 days • Here since 18 march 2005
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Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
24 jul 05
Voto:
So P knew at most the rhythmic score, and in all the works. Anyway, let me know better about your sources. The famous "contents," well, I prefer to try to interpret them, in order to spark, why not, an interesting round table of opinions on the matter: I really believe it makes sense to build a complete discourse on the meaning of Panella's texts instead of leaving everything to personal interpretation... I mean, I think Panella wanted to say something regardless of how someone personally received his message. And well, just imagine how much I interpreted, I only gave an interpretation of "Per Altri Motivi" that directly derives from the title, while on "A portata di mano" I interpreted nothing, but simply made an objective observation on musical parameters that are precisely what they are... verses and chorus simply don't exist :) and MP is full of more or less precise scenarios, but where's the connection? That's why there's "confusion"... :)
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
24 jul 05
Voto:
Yes, I understand your point about the clarity of DG's musical structure and its atypicality compared to later works, but there's a difference between a hypothesis and a source that, even if not very credible, must be acknowledged. In this regard, I'll quote excerpts from an interview with Panella that could contradict your statements: "But did you know the musical context in which your lyrics would end up?" "I never cared about the music. I consider it, since they are unfortunately songs, an incident to use, to tolerate. You see, when I send out a text, it's like I'm saying to it: 'Go, go, you can go, let’s hope they ruin you as little as possible' (...) "Why has the working methodology been completely different since DON GIOVANNI? Usually, music is written first and then the lyrics are adapted... But since Don Giovanni, the exact opposite has happened." "Yes. In Don Giovanni, I adapted the words to the words, because I musically feel, I take the grid trying to forget the melody, I take the rhythmic score and on that, I try to adapt theoretical words to the words" (...)
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
23 jul 05
Voto:
Well, Bogus, you write a review that you know will pique my interest, and then, funny enough, it gets published the day after my last exams of the pre-summer session, right in the middle of my full-blown slacking off, and you expect me not to say something? :) And come on, you can't hide behind being lazy and indifferent: you wrote the review and now you have to take it all in. :))
About Panella... Really? Goodness, I have sources that say the opposite, since DG, but since these aren't words reported, in my case, by PP himself, I have to conclude that you are definitely more reliable. :) Um, of course I hope you're more reliable, because, for heaven's sake, I have the impression that Panella, shy and proud of his work, has never bowed to musical demands. After all, I clearly remember a snippet of an interview with PP where he talked about how every song was born with its own written composition, until it was manipulated by Lucio into an adaptation to the music that he "hoped wouldn't happen" (while we obviously know that it would inevitably happen)... anyway, something to delve into.
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
22 jul 05
Voto:
7) I almost forgot: "The structure of the pieces, unpredictable and now incredibly distant from the traditional song format, follows often elusive melodic ideas and seems to reveal a significant reversal of the compositional process, which THIS TIME presents Pasquale Panella's lyrics as the basis on which the 'soundtrack' was subsequently built. THIS TIME compared to when? Certainly not compared to DG, because even in the previous work, the practice was that of Panella writing before Battisti the composer... for now, that should be enough :)
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
22 jul 05
Voto:
6) For Other Reasons. Among the more understated ones, it’s a masterpiece. Full of ideas on the edge of the practicable, it explains the foundations upon which the theme of the album's title rests. "Ah, how alive we are, how everything happens for completely different reasons": indeed, everything happens without our wanting it, without ever having the strength to lift the veil of appearance from the intelligible things, perhaps with a reference to the highly random evolution of Panella's artistic production, or why not, to Lucio himself. Countless possible interpretations that it would be futile to attempt to decipher. Even in "Come sono Vivace come uno che tace" (See Zucchero who borrowed the phrase, as a good plagiarist, in one of his famous pieces), the density of a message suggesting that appearance betrays every conjecture. It quietly sets the stage for "Per Nome," which is the standout track, but if you look closely, the real gem is this one: it would take days just to analyze the emotions that are worn directly, the wine lists of crusts with crunchy bits, the isosceles triangles that are unknown... masterpiece.
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
22 jul 05
Voto:
5) Within Reach. A statement of breakage by Battisti from the traditional canons of song. This is evident not only in the complete absence of a chorus and verses but also in the more global absence of a musical structure, characterized by the presence of many melodies that chase each other without ever allowing one to prevail: an example of good musical instinct, as well as great intuition. With "A portata di Mano," the song dies.
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
22 jul 05
Voto:
4) Disco, which as I mentioned, emerges more at the content level of DG. First of all, very intimate and candid are "L' Apparenza" and "Specchi Opposti": for the former, I like to recall, somewhat like in the case of MP, the beautiful sequence of images such as "dolphins jumping between waves" or the meticulous unwrapping of the "girl's" gift, or even the "nation" in which "at this time it's a full night or very cloudy," etc. etc... In this regard, how can we forget the "Oh of amazement with which we frame the fragile lightness of what we don't say"? from "Allontanando"? But we could spend hours talking, yet I will limit myself to addressing two key pieces specifically... points 5 and 6, for your delight.
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
22 jul 05
Voto:
The previous one was point 3. Let's move on to point 4.
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
22 jul 05
Voto:
I understand, I too have Mother Feathered in front of me, it’s a song to be grasped through images, like much of Lucio’s recent work: with records like this, you proceed by lightning bolts, as if it were the reading of a Pindaric text, where you didn’t understand a damn thing of the whole, but you caught the splendid images that characterized it. Of course, after mentally visualizing MP, what I see is a great confusion, anyway...
Lucio Battisti L'apparenza
Lucio Battisti L'apparenza
22 jul 05
Voto:
2) Mister Ponzio Pilato -too: "Are you saying I'm acting like Pilate? I didn't think it was right to delve into the details, illustrate the images, 'describe' the content; I preferred to keep a certain distance while trying to grasp the project behind this work." Didn't you think that was fair? And for what reason? Besides, just imagine how challenging it is to grasp the concept of such an album, especially since, forgive me, you only talked about a linguistic issue more than a content-related one... "And I think I succeeded"... modesty be damned! :D
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