composers-from-italy

"Pippo was powerful, demanding and competent. If he didn't like one of the arrangements, we would go back and write until late at night. [The Sanremo Festival] was his home: just think, one morning I caught him moving a flower box at the theatre entrance."

"(About the Sanremo Festival) It has gone from being a song festival to a product festival. This is a consequence of the rapid obsolescence of lyrics: once upon a time, an artist dreamed of finding a song that would remain in their repertoire forever. Today, what matters is doing something that works immediately."

"(About the song Ti lascio una canzone) Gino wanted to pay tribute to Ornella Vanoni as a seal on their story. I loved the idea: even before it was born, that song already had a life of its own. He wrote the lyrics, I wrote the music. Paoli was like a cat: you never knew whether he was going to scratch you or purr."

"In Neapolitan tradition, mandolins, guitars and accordions were part of everyday life, just like kitchen utensils."

"What is produced today is mostly modest. Music has become tribal: fewer and fewer elements are used, and songs are monotonous."

"As a composer, he enriched violin music by his numerous concertos and sonatas, and by a few dainty songs. However, it is as a virtuoso and as the founder of modern violin playing that Viotti will be remembered."

"I have been a committed vegetarian for many years, I can't even remember how many. Even as a child I refused to eat meat, I just didn't like it. [...] Over time, being vegetarian has become an existential necessity. I can no longer eat something that is close to human sensitivity. And one day, long ago, I realized that my choice was irreversible. [...] Also because I see the results on my health and my mental state. Since I banned meat and fish, I have had better dreams, and I know for sure that it depends on the food I eat."

"He is a great personality, a national treasure, the representative of the best Sicilian and Italian culture."

"The extraordinary and disastrous event, albeit pleasantly bizarre, is death. One day I will die silently, I will enter esoteric and synoptic spaces, moving in siderurgical and negotiable conditions. Farewell world, I will say then. I am dead forever."

"Interviewer: “How much did Battiato influence your career?” Alice: A great deal. Before meeting Franco, I probably would have stopped singing because I had already tried twice and failed to achieve what I wanted."

"The bad moments I've had in my life have only been cosmological in nature. Once during the night I got up, came into this room and looked my fear in the face, carefully, and the crisis was resolved. It's not easy, because at that moment you feel like a being thrown into nothingness, you have no ties to anything. It is the dark night of St. John of the Cross, suffering that seems insurmountable, unbearable, and yet you can overcome it in the blink of an eye. Just remember that we are impermanent. We think we are eternal, and that is our misfortune. They don't teach us how to die in school; the ancient Egyptians, on the other hand, built a civilization around death."

"Morgan is a very knowledgeable guy, I would say a complete musician because he also has a classical background, and this helps a lot, because as the saying goes, “the more you know, the more you're worth,” and if you also have talent, as in his case, that's it."

"There are storytellers from the island, such as Bufalino, Sgalambro, Tomasi di Lampedusa, who made their debut late in life. It is as if, for years, they had pointed a large telescope at the surrounding world. Then, drawing on their reserves and giving us, as Bufalino does, novels of overflowing sensuality, a Dionysian Sicily, full of flavors and colors."

"Morgan is not a carbon copy of the Americans or the British, but an independent thinker, and it's nice to hear him speak."

"Una canzone del 1991 del cantautore Battiato, intitolata Povera patria, riuscì a cogliere in anticipo lo spirito dei tempi. L'Italia vi era rappresentata «schiacciata dagli abusi del potere | di gente infame che non sa cos'è il pudore», abitata da «governanti, quanti perfetti e inutili buffoni!», ma «la primavera tarda ad arrivare [...] non cambierà, non cambierà, | no cambierà, forse cambierà». Dalla canzone Viva l'Italia del 1979 di De Gregori, in cui era orgogliosamente rivendicata, con esplicito riferimento alla strage di piazza Fontana, «l'Italia del 12 dicembre, | l'Italia con le bandiere, l'Italia nuda come sempre, | l'Italia con gli occhi aperti nella notte triste, | viva l'Italia, l'Italia che resiste», erano trascorsi soltanto dodici anni, ma quelle parole sembravano provenire da un'altra epoca. La percezione di questa sfasatura temporale derivava dal fatto che la canzone di De Gregori illuminava il passato della nazione mentre quella di Battiato il suo futuro: come se in quell'arco di tempo sospeso e improvvisamente dilatato, l'Italia fosse stata presa in un vortice, sollevata da un turbine e poi precipitata giù."

"Battiato [...] is considered an intellectual author, but if you analyze his lyrics, they are complete nonsense: quotes upon quotes with no real meaning."

"We are faced with a double temptation when viewing his [pictorial] works: on the one hand, we would like to indulge in a naive judgment, unaccompanied by the clamor that comes from his legend as a musician, singer, and poet; on the other hand, we feel that we cannot escape this legend, as it necessarily conspires to give us the complete portrait of the man. In other words, if we were to try to channel Battiato's painting into a convenient bed of neo-primitivism, forgetting the operational and intellectual richness that underpins it, it would risk appearing to us as the hobby of an episodic and half-hearted artist; whereas, on the contrary, observing it with both eyes, those of nature and those of culture, we will see its colors marry affectionately with the notes, words, and meditations of the author, and in this alliance, not to say connivance, explain to us the unmistakable signature of a soul."

"(Referring to the degenerative disease that had affected Battiato) He was always Franco. He always had been, regardless of outward appearances. In fact, perhaps that day he was even more so."

"(Speaking of the reality show ‘'L'isola dei famosi’') I don't want to feel intelligent watching idiots, I want to feel like an idiot watching intelligent people."

"(Speaking of Giorgio Gaber) In the mid-1970s, we spent wonderful evenings talking and playing poker until morning. Giorgio was an impressive listener. He was extremely intelligent, curious, and open-minded. Being a perfectionist, he could not stand (and in this he was fierce) incivility, incompetence, sloppiness, delinquency as a philosophy of life... And then there was corrupt politics. [...] The passing of such a man in our midst was, for me, yet another proof that life is not a matter of chance."

"In the 1980s, Franco and I had common interests beyond music. We had both arrived, by different paths, at the teachings of the philosopher and mystic Gurdjieff. In 1981, I was given his book ‘'Meetings with Remarkable Men’', and it took me two years before I opened it: I read it in one sitting. I was finally ready."

"My desire was to be an instrument of what Franco conveyed musically and what he communicated. This is fundamental for me: what Franco left us is a precious gift that must be watered, nourished, and kept alive forever, even if there were no need to do so. His records, his films, and his paintings bear witness to his thoughts and his culture. He called himself a “man of music.” He was unique."

"The crisis in human beings is decisive, otherwise existence is useless. I have taken refuge in what is called metaphysics because I am someone who believes that human beings are immortal."

"And then culture is a difficult word to interpret. We are one of those countries that has only thought about stealing."

"If you are unable to watch something different from yourself, it is because you need an enemy. Italian politics has influenced certain attitudes in this regard. In Venice, it has always been this way since Fellini onwards. Once, the police had to rescue Carmelo Bene because they wanted to kill him. They uprooted the chairs in the cinema."

"I came to understand certain things after many years of study and research, and through my experiences. Afterwards, reintroducing myself to society was not easy. I had trouble recognizing human beings when I was on the street or on the tram. It was strange: I didn't understand if I was crazy or a mystic. But I realized that the journey on this planet is decisive. We must escape the rules of the universe."

"The last time I saw him was in Milo in 2020. I went to visit him at his home and we spent the whole day together. They were intense moments in which words were unnecessary."

"Inner evolution has no party. Those who want me on one side or the other do not appreciate my music, and if they think they do, it is a misunderstanding. In 1982, during a concert in Verona, I sang “Centro di gravita' permanente” and found myself surrounded by four thousand outstretched arms: it was mind-blowing. However, the left has committed crimes as horrible as those of the right throughout the world."

"‘’Il Gioco dell'Eroe‘’ by Gianluca Magi is a large stone thrown into a still pond. An invitation to inner life and its (inevitable) evolutionary transmutation."

"He once came to visit us in Montreux while we were recording Zero, and we spent two wonderful days with him, during which he taught us so much. I, [...] am always looking for a father figure. Not only in music: he took us to a Middle Eastern restaurant, where he ordered in Arabic. But somehow, we managed to take him to McDonald's: he had never been there before. We let him try fries with ketchup. At first he was suspicious, but he took a fry, dipped it in ketchup, and said, “Guys, this is delicious! What have I been missing...”"

"I am naturally a contemplative person. Scents and the air are like a remote control that turns off the world for me."

"Both as an organist and composer he ranks high."

"Qui nun c'è Gianna, Aida, né Berta che filava | e quando tramonta il sol, Maria se n'è già andata. | Malgrado i cambiamenti, 'sto cielo è sempre blu, | è sempre der colore che l'hai lasciato tu."

"Se stamo qui stasera è pe salutà un amico, | pe ricordà un fratello che se chiamava Rino. | So annato lì al Verano solo pe fa un saluto | perché, lo posso dì, co te so cresciuto. | Ce fosse un monumento, verrebbero in milioni | a rende omaggio ar genio che cantava le canzoni."

"Then third place Simone Cristicchi, who went to Sanremo with his song about disabled people and blew everyone away! He sang ‘I want to be like Biagio Antonacci’. Guys! What the hell is wrong with us! Oh well, never mind."

"Arcangelo Corelli was the main founder of modern orchestral playing and the composer who fashioned two new musical forms, the Baroque trio and solo sonata, and the concerto grosso."

"Claudio Monteverdi, a composer who bridged the Renaissance period and the Baroque, can be justly considered one of the most powerful figures in the history of music."

"Angelo Mariani was by chance the first in Italy who, coupling the office of concertmaster with that of orchestra director, taught by example the best means of obtaining, in great musical performances, true concert unity ."

"Angelo Mariani was considered at that time the prince director, the genius director! The Italian orchestra, under him, had in fact transformed. Before Mariani, the conductors, even the most talented, had limited themselves to obtaining accuracy, balance, intonation from the orchestra, i.e. the qualities indispensable for a good performance. With him the orchestra suddenly elevated itself to the mission of interpreter, of true collaborator of the author's thoughts and feelings. (Gino Monaldi)"

"Angelo Mariani is nowadays considered, in addition to being a very distinguished violin player and a very elegant composer of chamber pieces, the most excellent orchestra conductor that Italy has."

"If it is legitimate to say, with a Gallic term, that a singer or an actor, called to interpret a new production on stage, become in a certain way creators of it, there is no one better than the concertmasters and orchestra directors of a musical score, this illustrious title belongs. [...] In this respect, the master concertmaster and conductor Cav. Angelo Mariani deserves, first in Italy, the title of creator."

"I had the opportunity to follow Mariani in his artistic wanderings for a few years, and I was able to convince myself of the omnipotent charm he exercised on the orchestra and of the prodigious effect he had on the performance. The great strength of intellect and of heart that constituted his beautiful artistic personality manifested itself immediately at the first rehearsal. As soon as he stepped onto the director's stool, Mariani already knew exactly the merits and defects of his orchestra. (Gino Monaldi)"

"On February the nineteenth a very solemn Procession was made from San Paolo Vecchio to Giesu, through the principal streets of the City: which Procession exceeded all the rest in number of Pageants, Chariots, and Ships, and other Erections, filled with people who represented several things, and good Musick, accompanyed with several Dances on Foot, and many other brave devices: of all which things I speak not, because I have a printed Relation thereof by me. In the rear of the Procession was carried by many of the Fathers, dressed in their Copes, the Body of San Francesco Sciavier, inclos’d in a fair and rich Silver Coffin, with a Silver Canopie over it, made very gallant, and the Effigy of the Saint behind. Then came, a great Standard with the pourtraytures of the Saints, carry’d likewise by some of the Fathers; and after that, all the Crosses of their Parishes of Salsette, and onely one Company of the Fryers of Saint Francis. Of the other Religious Orders in Goa none appeared here; because they said they would not go in the Processions of the Jesuits, since the Jesuits went not in those of others. With this Procession, which ended about noon, ended also the solemnities for the above said Canonisation."

"On the twenty-ninth of the same month, being the day of S. Pietro Martire, who, they say, was the Founder of the Inquisition against Hereticks, the Inquisitors of Goa made a Festival before their House of the Inquisition which is in the Piazza of the Cathedral and was sometimes the Palace of Sabaio, Prince of Goa, when the Portugals took it, whence it is still call’d la Piazza di Sabaio. After solemn Mass had been sung in the Church of San Dominico, as Vespers had been the day before, in presence of the Inquisitors, who, coming to fetch the Fryers in Procession, repair’d thereunto in Pontificalibus, in the evening, many carreers were run on horse-back by the Portugal Gentry, invited purposely by the Inquisitors; and a day or two after (for this Evening was not sufficient for so many things) there was in the same Piazza a Hunting, or Baiting, of Bulls after the Spanish fashion; but the Beasts, being tame and spiritless, afforded little sport; so that I had not the curiosity to be present at it. This is a new Festival lately instituted by the present Inquisitors, who, I believe, will continue it yearly hereafter."

"On February the tenth, as a beginning of the solemnities for the Canonisation, the Jesuits sung Vespers in the Church of the Professed-house of Giesu. The night following they caused a numerous Maskerade of young Students, not Collegians, but Outliers, to pass through the streets on horse-back, clothed in several rich habits and following a Standard whereon were pourtrayed the Effigies of the Saints. The next day there was a solemn Mass in the same Church, and a Sermon made by the Visitor, F. Andren Palmuro, at which the Vice-Roy was present. In the Evening upon a very great Theatre, erected without the Church in the Piazza, for representing many dayes together the Life of San Francesco Sciavier, they caused a Squadron of young men mask’d in the habits of Peasants to dance many gallant Ballets with Musick. On the twelfth of February, in the presence of the Vice-Roy and of all the Nobility and People of the City, (for whose conveniency scaffolds and seats were erected in the Piazza round about the Theatre, both for Men and Women) the first Act of the above-said Comedy, or Tragedy, (as they said) of the Life of Santo Sciavier was represented. Of which Tragedy, which was a composition represented by about thirty persons, all very richly clothed and decked with Jewels, no less extravagant than grand, whereunto they entered to act the rare Musick, gallant dances, and various contrivances of Charriots, Ships, Galleys, Pageants, Heavens, Hells, Mountains and Clouds, I forbear to speak, because I have the printed Relations by me. On the eighteenth of February, the Vice-Roy being indispos’d, the proceedings were suspended and nothing was done. But on the three following dayes, by two Acts a day, the whole Tragedy was rehearsed. It comprehended not only the whole Life, but also the Death of San Francesco Sciavier, the transportation of his Body to Goa, his ascension into Heaven, and, lastly, his Canonisation. On the seventh of the same moneth Mass was sung in the College of San Paolo Nouvo, and a predication made by F. Flaminio Calo, an Italian, upon the Beatification of the Blessed Luigi Gonsaga, who was also a Father of the Society. In the Evening the Portugals of quality passed about the streets in a Maskerade, accompanyed with Chariots and Musick; about twelve of us went out of the House of Sig: Antonio Baraccio, all clothed in the same Livery, which I took care to get made according to my Phansie… On February the eighteenth, in the Morning, solemn Mass was sung and a Sermon made upon the Canonisation of Saints in San Paolo Vecchio…"

"This Island of Salsette is full of very fair Towns and abundance of Houses. Above all the Jesuits have the goodliest places, and ’tis counted that perhaps a third part of the Island is theirs; for, besides three good Towns which belong wholly to them, they have also dominion and government in all the other Towns too which are not theirs; they have Churches everywhere, Lands and store of goods, and, I believe, all the Parishes are govern’d by them in Spirituals with Supreme Authority; whence this people acknowledge more Vassallage to the Jesuits than to the King himself. The case is the, same in another Island call’d Bardeos, adjacent also to that of Goa, but more Northward, which is under the government of the Franciscans. Nor is it otherwise in almost all the other Territories of the Portugals; so that it may justly be said that the best, and perhaps too the greatest part of this State is in the hands of Religious Orders."

"On March the first there was also another Procession in Goa of the Disciplinanti, which I went not to see; the like is made every Fryday during all Lent, and therefore I shall not stay to describe it. I believe there is no City in the world where there are more Processions than in Goa all the year long; and the reason is because the Religious Orders are numerous, and much more than the City needs; they are also of great authority and very rich, and the People, being naturally idle and addicted to Shews, neglecting other Cares of more weight and perhaps more profitable to the Publick, readily employ themselves in these matters; which, however good as sacred ceremonies and parts of divine worship, yet in such a City as this which borders upon Enemies and is the Metropolis of a Kingdom lying in the midst of Barbarians and so alwayes at Warr, and where nothing else should be minded but Arms and Fleets, seem according to worldly Policy unprofitable and too frequent, as also so great a number of Religious and Ecclesiastical persons is burdensome to the State and prejudicial to the Militia."

"In the Evening of every Fryday of Lent there is a Sermon upon the Passion in the Church of Giesu; and so likewise in other Churches, but upon other dayes and hours. At the end of these Sermons certain Tabernacles are open’d, and divers figures, representing some passages of the Passion (according to the subject of the Sermon), are with lighted Tapers shewn to the People; as one day that of the ‘Ecce Homo;’ another day Our Lord with the Cross upon his shoulders; and the last day the Crucifix; and so every day one thing suitable to the purpose. Oftentimes they make these figures move and turn, as they made the Robe fall off from the Ecce Homo and discover the wounded Body; at which sight the devout People utter prodigious Cryes, and the Women force themselves to shriek out; and the Signore, or Gentlewomen, are so zealous that they not onely cry out themselves, but make their Maids do so too and beat them even in the Church if they do not and that very loudly, whether they have a will to it, or no. Strange devotion indeed!"

"“Cogitanti omnia vilescunt” He who thinks, undervalues all things."

"Ungrateful soul, not to forego its own miserable gratifications, it consented to lose God."