Morgan
La Sera

While Italy was televoting for Pupo and voting Monarchy, another rare piece by a contemporary Italian artist was being consumed; because not only was Morgan's outing sadly and culpably misunderstood, but even more culpably, subtly hidden in the shadows was the work on which this artist has spent much of his art.

The piece was performed, exclusively on piano, only on "Annozero", and not even in full due to a cold that truncated the highs of the last passages; and thus the Italians who do not know or do not want to inquire will savor nothing of the complex architecture that is constructed here starting from the notes of a music box, in a long crescendo of intensity, from the initial whispered stanzas, gradually adding orchestral sections, up to the long melodic phrasing with admirable harmonization that closes the piece.

To the gothic atmospheres that accompany the first notes, characterized by the use, among other things, of a bassoon, follows, with a decisive change of rhythm, a first tango-style bridge with a deployment of strings and voice, strings that will closely follow the melody of the next stanza. Another jump in meter and time liberates the chorus, and this time we find ourselves in the style of the 1950s Italian ballad, a retro inspiration not new to Morgan's songs.

In such well-constructed complexity, one is involved and enveloped, and only on subsequent listens does one realize that many devices are used in the text, rhymes and assonances, metrics, and alliterations, so that the text becomes a work in itself, a poem, and from this, the meaning of the words emerges in its three-dimensionality to teach us beauty, and the importance of beauty, and that the only thing that ultimately saves us is, indeed, beauty.

And while many, too many, were going everywhere and to all the lakes, these same teleusers closed their minds once more to the pursuit of aesthetics, to auteur music, to the composition of a splendid song, to this song, La sera.