Tutto Fabrizio De André: La ballata dell'amore cieco (o della vanità) - The Ballad of Blind Love (or of Vanity)

Un uomo onesto, un uomo probo, tralalalalla tralallaleru s'innamorò perdutamente d'una che non lo amava niente. Gli disse portami domani, tralalalalla tralallaleru gli disse portami domani il cuore di tua madre per i miei cani. Lui dalla madre andò e l'uccise, tralalalalla tralallaleru dal petto il cuore le strappò e dal suo amore ritornò. Non era il cuore, non era il cuore, tralalalalla tralallaleru non le bastava quell'orrore, voleva un'altra prova del suo cieco amore. Gli disse amor se mi vuoi bene, tralalalalla tralallaleru gli disse amor se mi vuoi bene, tagliati dei polsi le quattro vene. Le vene ai polsi lui si tagliò, tralalalalla tralallaleru e come il sangue ne sgorgò, correndo come un pazzo da lei tornò. Gli disse lei ridendo forte, tralalalalla tralallaleru gli disse lei ridendo forte, l'ultima tua prova sarà la morte. E mentre il sangue lento usciva, e ormai cambiava il suo colore, la vanità fredda gioiva, un uomo s'era ucciso per il suo amore. Fuori soffiava dolce il vento, tralalalalla tralallaleru ma lei fu presa da sgomento, quando lo vide morir contento. Morir contento e innamorato, quando a lei niente era restato, non il suo amore, non il suo bene, ma solo il sangue secco delle sue vene. La ballata dell'amore cieco (o della vanità) © 1966 Fabrizio De André "La ballata dell'amore cieco (o della vanità)" was the B-side of the next to last 45 released on the Karim label. The first three verses of this song are taken from a French poem "La Chanson de Marie-des-Anges" by Jean Richepin. De André's father had studied French literature at university, and in the years following World War II De André grew up surrounded with books and music. One of his attractions was to the dark sensibilities of Baudelaire. The macabre lyrics of this song coupled with the lively music (Dixieland interludes!) show the influence also of George Brassens. And that "tralallaleru" refrain is no doubt related to Trallalero, a group harmony singing tradition from the Ligurian region that was taken up by Genoese dockworkers and became hugely popular in the first three decades of the 1900s. An example of Trallalero:

An honest man, a man of probity tralalalalla tralallaleru fell deeply in love with a woman who loved him not at all. She told him bring me, tomorrow tralalalalla tralallaleru She told him bring me tomorrow the heart of your mother for my dogs. He went to his mother’s house and killed her tralalalalla tralallaleru from her chest he tore out her heart and to his love he did return. It wasn’t the heart, it wasn’t the heart tralalalalla tralallaleru It wasn’t enough for her, that horror, she wanted another proof of his blind love. She said darling, if you love me tralalalalla tralallaleru She said darling, if you love me cut the four veins of your wrist. He cut the veins in his wrist tralalalalla tralallaleru and as blood gushed out, running like a madman he returned to her. She said to him, laughing hard tralalalalla tralallaleru She said to him, laughing loud your final test will be death. And while his blood slowly drained out and then his color was changing, the cold vanity rejoiced, a man had been killed for his love. Outside, the wind blew gently tralalalalla tralallaleru but she fell into a state of consternation when she saw him dying, contented. Dying content and in love, when for her nothing remained, not his love, nor his well-being, just the dried blood of his veins. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: Amore che vieni, amore che vai - You, Love, Who Comes and Who Goes

Quei giorni perduti a rincorrere il vento a chiederci un bacio e volerne altri cento un giorno qualunque li ricorderai amore che fuggi da me tornerai un giorno qualunque li ricorderai amore che fuggi da me tornerai E tu che con gli occhi di un altro colore mi dici le stesse parole d'amore fra un mese fra un anno scordate le avrai amore che vieni da me fuggirai tra un mese tra un anno scordate le avrai amore che vieni da me fuggirai Venuto dal sole o da spiagge gelate perduto in novembre o col vento d'estate io t'ho amato sempre non t'ho amato mai amore che vieni amore che vai io t'ho amato sempre non t'ho amato mai amore che vieni amore che vai Amore che vieni, amore che vai © 1966 Fabrizio De André "Amore che vieni, amore che vai" was the last song written by De André for the Karim label, and it was released in 1966 as side B to "Geordie." It treats a theme that appears regularly in De André's work, the mutability of love. The song is also featured in a 2008 movie of the same name, based on the novel Un destino ridicolo co-written by De André and Alessandro Gennari in 1996.

Those days long past of chasing the wind, of asking each other for a kiss and wanting a hundred more, one of these days you’ll remember them. You, love who runs away, will come back to me. One of these days you'll remember them. You, love that flees, to me will return. And you who with eyes of a different color tell me the very same words of love, in a month, in a year, you’ll have forgotten them. Love who comes to me, from me you will flee. In a month, in a year, you’ll have forgotten them. Love who comes to me, from me you will flee. Hailing from sunshine or from cold, cold shores, lost in November or with a summer breeze, I loved you always, I never loved you, you, love, who comes and who goes. I loved you always, I never loved you, you, love, who comes, you, love, who goes. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: La ballata dell'eroe - Ballad of the Hero

Era partito per fare la guerra per dare il suo aiuto alla sua terra gli avevano dato le mostrine e le stelle e il consiglio di vendere cara la pelle e quando gli dissero di andare avanti troppo lontano si spinse a cercare la verità ora che è morto la patria si gloria d'un altro eroe alla memoria ma lei che lo amava aspettava il ritorno d'un soldato vivo, d'un eroe morto che ne farà se accanto nel letto le è rimasta la gloria d'una medaglia alla memoria La ballata dell'eroe © 1961 Fabrizio De André "La ballata dell'eroe" was the B-side of the 45 released by Karim in 1961 that De André considers his first published work (the A-side was "La ballata del Michè"). With the Cold War raging between the US and the USSR, and in the context of the unfolding Berlin Crisis, this song was a simple yet powerful anti-war ballad. The song was re-recorded by Luigi Tenco in 1962 and appeared in the movie "La Cuccagna." The song was republished in 1964 as the B-side to "La guerra di Piero" and also reinterpreted and included on Volume III. Though not officially credited, according to the sheet music of the song the music was written by Elvio Monti, who worked for Karim as arranger and orchestra conductor and who collaborated on many of De André's songs released by that label.

He had gone off to fight in the war, to give help to his country. They had given him the patches and the stars and the advice to fight to the bitter end, and when they told him to move ahead, too far he pushed on, searching for the truth. Now that he’s dead, his fatherland boasts of another hero added to its memory. But she who loved him waited for the return of a living soldier. What will she make of a dead hero if beside her in bed she is left with the glory of a commemorative medallion? English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: La canzone di Marinella - Marinella's Song

Questa di Marinella è la storia vera che scivolò nel fiume a primavera ma il vento che la vide così bella dal fiume la portò sopra una stella Sola senza il ricordo di un dolore vivevi senza il sogno di un amore ma un re senza corona e senza scorta bussò tre volte un giorno alla tua porta Bianco come la luna il suo cappello come l'amore rosso il suo mantello tu lo seguisti senza una ragione come un ragazzo segue un aquilone E c'era il sole e avevi gli occhi belli lui ti baciò le labbra ed i capelli c'era la luna e avevi gli occhi stanchi lui pose le sue mani sui tuoi fianchi Furono baci e furono sorrisi poi furono soltanto i fiordalisi che videro con gli occhi delle stelle fremere al vento e ai baci la tua pelle Dicono poi che mentre ritornavi nel fiume chissà come scivolavi e lui che non ti volle creder morta bussò cent'anni ancora alla tua porta Questa è la tua canzone Marinella che sei volata in cielo su una stella e come tutte le più belle cose vivesti solo un giorno, come le rose E come tutte le più belle cose vivesti solo un giorno, come le rose La canzone di Marinella © 1964 Fabrizio De André "La canzone di Marinella" is perhaps the most famous of De André's songs, and when it was covered with great success by the Italian artist Mina in 1967 it allowed De André to give up his day job and concentrate on songwriting. The song itself was based on the true story of a girl who became orphaned and then took to the streets to make money. She was murdered by a client. When he read the story, De André's impulse was to do something to help, in the only way he could - with a song, written as a way to change her death and to sweeten it somehow, given that we have no powers to change the events of someone's life already passed.

This story of Marinella is the true story, that she slipped into the river one spring. But the wind that saw her so beautiful carried her from the river onto a star. Alone with no memory of sorrow, you lived without the dream of a love. But a king, without his crown and without escort, knocked three times one day on your door. White as the moon his hat, and like the flush of love his cloak. You followed him without any reason, like a child chases after a kite. And it was sunny and your eyes were beautiful, he kissed your lips and your hair. Then came the moon and your eyes were tired, he placed his hands on your hips. There were kisses and there were smiles, then there were only fleurs-de-lis that saw with the eyes of the stars your skin trembling in the wind and the kisses. They say then that while you were returning you slipped into the river, who knows how? And he, not wanting to believe you dead, knocked a hundred years more at your door. This is your song, Marinella, that you flew to heaven on a star. And like all of the most beautiful things, you lived only one day, like the roses. And like all the most beautiful things, you lived only one day, like the roses. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966. A duet with Mina and De André recorded in 1997

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Tutto Fabrizio De André: Fila la lana - Spin the Wool

Nella guerra di Valois il Signor di Vly è morto, se sia stato un prode eroe non si sa, non è ancor certo. Ma la dama abbandonata lamentando la sua morte per mill'anni e forse ancora piangerà la triste sorte. Fila la lana, fila i tuoi giorni illuditi ancora che lui ritorni, libro di dolci sogni d'amore apri le pagine sul suo dolore. Son tornati a cento e a mille i guerrieri di Valois, son tornati alle famiglie, ai palazzi alle città. Ma la dama abbandonata non ritroverà il suo amore e il gran ceppo nel camino non varrà a scaldarle il cuore. Fila la lana, fila i tuoi giorni illuditi ancora che lui ritorni, libro di dolci sogni d'amore apri le pagine al suo dolore. Cavalieri che in battaglia ignorate la paura stretta sia la vostra maglia, ben temprata l'armatura. Al nemico che vi assalta siate presti a dar risposta perché dietro a quelle mura vi s'attende senza sosta. Fila la lana, fila i tuoi giorni illuditi ancora che lui ritorni, libro di dolci sogni d'amore chiudi le pagine sul suo dolore. Fila la lana © 1965 Fabrizio De André "Fila la lana" was presented as a translation of a popular medieval French song from the 15th century. In fact the French source song was "File la laine" composed by Robert Marcy in 1948, popularized by Jacque Douai in 1955. The War of Valois in De André's version is better known as the War of the Breton Succession (1341-1364). The original French version speaks of the "Monsieur of Malbrough" which refers to a 1709 battle in the War of the Spanish Succession depicted in one of the most famous of French folk songs, "Marlbrough s'en va-t-en guerre."

In the war of Valois the Seignior of Vly died. Whether he was a valiant hero is unknown, it’s still not certain. But the woman left abandoned lamenting his death, for a thousand years, maybe more, will mourn his sad destiny. Spin the wool, spin your days, keep fooling yourself that he might return. Book of sweet dreams of love - open the pages to its sorrow. They returned by the hundreds and by the thousands, the warriors of Valois. They returned to their families, to their palaces, to their cities. But the abandoned woman won’t find her love again, and the big log in the fireplace will be of no use for warming her heart. Spin the wool, spin your days, keep fooling yourself that he might return. Book of sweet dreams of love - open the pages to its sorrow. Knights who in battle ignore the fear, may your chain mail be tight, your armor well-tempered. To the enemy who assaults you be ready to give riposte, because behind those walls you’re awaited without cease. Spin the wool, spin your days, keep fooling yourself that he might return. Book of sweet dreams of love - close the pages on its sorrow. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: La città vecchia - The Old City

Nei quartieri dove il sole del buon Dio non dà i suoi raggi ha già troppi impegni per scaldar la gente d'altri paraggi, una bimba canta la canzone antica della donnaccia quel che ancor non sai tu lo imparerai solo qui tra le mie braccia. E se alla sua età le difetterà la competenza presto affinerà le capacità con l'esperienza dove sono andati i tempi di una volta per Giunone quando ci voleva per fare il mestiere anche un po' di vocazione. Una gamba qua, una gamba là, gonfi di vino quattro pensionati mezzo avvelenati al tavolino li troverai là, col tempo che fa, estate e inverno a stratracannare a stramaledire le donne, il tempo ed il governo. Loro cercan là, la felicità dentro a un bicchiere per dimenticare d'esser stati presi per il sedere ci sarà allegria anche in agonia col vino forte porteran sul viso l'ombra d'un sorriso tra le braccia della morte. Vecchio professore cosa vai cercando in quel portone forse quella che sola ti può dare una lezione quella che di giorno chiami con disprezzo pubblica moglie. Quella che di notte stabilisce il prezzo alle tue voglie. Tu la cercherai, tu la invocherai più d'una notte ti alzerai disfatto rimandando tutto al ventisette quando incasserai delapiderai mezza pensione diecimila lire per sentirti dire "micio bello e bamboccione". Se ti inoltrerai lungo le calate dei vecchi moli in quell'aria spessa carica di sale, gonfia di odori lì ci troverai i ladri gli assassini e il tipo strano quello che ha venduto per tremila lire sua madre a un nano. Se tu penserai, se giudicherai da buon borghese li condannerai a cinquemila anni più le spese ma se capirai, se li cercherai fino in fondo se non sono gigli son pur sempre figli vittime di questo mondo. La città vecchia © 1965 Fabrizio De André "La città vecchia" is set in old Genoa where De André spent much time, with its little back alleyways, bars, prostitutes, and the hard lives of the poor people and criminals who lived there on the margins of society, the opposite of what De André experienced with his own upper-middle class upbringing. The song was inspired by a poem of the same name by Umberto Saba set in the port zone of Trieste. And the first two lines are quite similar to lines from a poem by Jacques Prévert, "Embrasse moi": "The sun of the good Lord doesn't shine on our parts/It already has too much to do in the rich quarters." Throughout his songwriting career, De André regularly took inspiration from and borrowed from other works of literature and music. (Translation notes: 1. "Giunone" is "Juno," but "By Jove!" is the common English expression. 2. In Italy, pensioners receive their checks on the 27th of every month.)

In the districts where the sun of the good Lord gives not its rays, it already has too many commitments warming the people of other neighborhoods. A little girl sings the ancient song of the whore: that which you still don’t know, you will learn only here in my arms. And if at her age she might lack in competence, she’ll quickly refine her skills with experience. Where did the good old days go, by Jove, when to practice the craft still required a bit of a calling? A leg here, a leg there, bloated with wine, four pensioners half-poisoned at the table; you’ll find them there, rain or shine, summer and winter, guzzling it down and profusely bad-mouthing women, the weather and the government. They’re searching for bliss there inside a wineglass, to forget having been taken for a fool. There will be joy even in agony with strong wine. They’ll wear on their faces the shadow of a smile in the arms of death. Old professor, what do you go seeking in that street door? Perhaps she who alone can teach you a lesson, she who by day you scornfully call public wife, she who by night sets the price for your desires. You’ll search for her, you’ll invoke her on more than one night. You’ll wake up exhausted, postponing everything til the 27th when you will cash and trash half your pension, 10,000 lira to hear yourself say “sweet pussycat" and "big rag doll.” If you enter along the walkways of the old piers, in that thick air, laden with salt, swollen with odors, there you will find the thieves, the assassins and the weird guy, that one who sold his mother to a dwarf for 3000 lira. If you will think, if you will judge as a fine upstanding middle class person, you'll condemn them to 50,000 years plus expenses; but if you will understand, if you will search them through and through, even if they are not lilies they are always children, victims of this world. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: La ballata del Michè - The Ballad of Mike

Quando hanno aperto la cella era già tardi perché con una corda sul collo freddo pendeva Michè Tutte le volte che un gallo sento cantar penserò a quella notte in prigione quando Michè s'impiccò Stanotte Michè s'è impiccato ad un chiodo perché non poteva restare vent'anni in prigione lontano da te Nel buio Michè se n'è andato sapendo che a te non poteva mai dire che aveva ammazzato perchè amava te Io so che Michè ha voluto morire perché ti restasse il ricordo del bene profondo che aveva per te Vent'anni gli avevano dato la corte decise così perché un giorno aveva ammazzato chi voleva rubargli Marì Lo avevan perciò condannato vent'anni in prigione a marcir però adesso che lui s'è impiccato la porta gli devono aprir Se pure Michè non ti ha scritto spiegando perché se n'è andato dal mondo tu sai che l' ha fatto soltanto per te Domani alle tre nella fossa comune cadrà senza il prete e la messa perché d'un suicida non hanno pietà Domani alle tre nella terra bagnata sarà e qualcuno una croce col nome la data su lui pianterà E qualcuno una croce col nome e la data su lui pianterà. La ballata del Michè © 1961 Fabrizio De André/Clelia Petracchi "La ballata del Michè," released in 1961, was the first song De André claimed as his own (the first two De André songs released by Karim he wrote off as "abortions" and "sins of youth"). He often said that the success of the song was enough to prevent him from giving up his songwriting career and instead becoming a criminal lawyer. The song was inspired by an actual news event, and includes a number of elements common to De André songs: a tolerance, understanding and respect of the common man and his circumstances, along with a critique of both the law and the church for certain of their hard-line and merciless principles. Live, 1990s, verses rearranged

When they opened the cell it was already late because with a cord ‘round his neck there hung Mike, all cold. Every time I hear a rooster crowing, I’ll think of that night in prison when Mike hanged himself. Tonight Mike hanged himself from a nail because he couldn't remain twenty years in prison far away from you. In the darkness Mike went off knowing he could never tell you that he had murdered because he loved you. I know that Mike wanted to die so that the memory of the deep feeling he had for you would remain behind with you. Twenty years they had given him. The court decided it so because one day he’d killed someone who wanted to steal his Marie. They had him condemned therefore, twenty years in prison to rot away. But now that he hanged himself they have to open the door for him. Even if Mike didn’t write you explaining why he left this world, you know that he did it only for you. Tomorrow at three o’clock he'll fall into the common grave, without a priest and the mass, because for a suicide they have no pity. Tomorrow at three o'clock he'll be in the wet ground and someone will plant a cross over him with the name and the date. And someone will plant a cross over him with the name and the date. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: La canzone dell'amore perduto The Song of Love Lost

Ricordi, sbocciavan le viole con le nostre parole “Non ci lasceremo mai, mai e poi mai” Vorrei dirti ora le stesse cose ma come fan presto, amore ad appassir le rose così per noi. L'amore che strappa i capelli è perduto ormai, non resta che qualche svogliata carezza e un po' di tenerezza. E quando ti troverai in mano quei fiori appassiti al sole d'un aprile ormai lontano, li rimpiangerai. Ma sarà la prima che incontri per strada, che tu coprirai d'oro per un bacio mai dato, per un amore nuovo. E sarà la prima che incontri per strada, che tu coprirai d'oro per un bacio mai dato, per un amore nuovo. La canzone dell'amore perduto © 1966 Fabrizio De André "La canzone dell'amore perduto" was written when things were no longer going well between De André and his first wife "Puny" Rignon, though they continued to live together for a while. It's interesting that De André wrote this break-up song from the woman's point of view. The song was extremely popular and was covered by many other Italian artists. The music is from Georg Philipp Telemann Adagio from "Concerto in D Major for trumpet, strings and basso continuo").

Remember? The violets used to bloom along with our words, “We’ll never, ever leave each other, never.” I’d like to say the same things to you now, but how quickly, love, the roses fade, just like the two of us. The love that drove us to our wits’ ends is now lost. Nothing remains but some limp caresses and a bit of tenderness. And when you find yourself with those wilted flowers in hand, withered in the sun of a now-distant April, you’ll be filled with regret. But there will be that first woman you meet out on the street whom you’ll cover in gold for a kiss never given, for a new love. And there will be that first one you meet on the streets whom you’ll cover in gold for a kiss never given, for a new love. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: La guerra di Piero - Piero's War

Dormi sepolto in un campo di grano non è la rosa non è il tulipano che ti fan veglia dall'ombra dei fossi ma sono mille papaveri rossi lungo le sponde del mio torrente voglio che scendano i lucci argentati non più i cadaveri dei soldati portati in braccio dalla corrente così dicevi ed era inverno e come gli altri verso l'inferno te ne vai triste come chi deve il vento ti sputa in faccia la neve fermati Piero, fermati adesso lascia che il vento ti passi un po' addosso dei morti in battaglia ti porti la voce chi diede la vita ebbe in cambio una croce ma tu no lo udisti e il tempo passava con le stagioni a passo di giava ed arrivasti a varcar la frontiera in un bel giorno di primavera e mentre marciavi con l'anima in spalle vedesti un uomo in fondo alla valle che aveva il tuo stesso identico umore ma la divisa di un altro colore sparagli Piero, sparagli ora e dopo un colpo sparagli ancora fino a che tu non lo vedrai esangue cadere in terra a coprire il suo sangue e se gli sparo in fronte o nel cuore soltanto il tempo avrà per morire ma il tempo a me resterà per vedere vedere gli occhi di un uomo che muore e mentre gli usi questa premura quello si volta, ti vede e ha paura ed imbracciata l'artiglieria non ti ricambia la cortesia cadesti a terra senza un lamento e ti accorgesti in un solo momento che il tempo non ti sarebbe bastato a chieder perdono per ogni peccato cadesti a terra senza un lamento e ti accorgesti in un solo momento che la tua vita finiva quel giorno e non ci sarebbe stato un ritorno Ninetta mia crepare di maggio ci vuole tanto troppo coraggio Ninetta bella dritto all'inferno avrei preferito andarci d'inverno e mentre il grano ti stava a sentire dentro alle mani stringevi fucile dentro alla bocca stringevi parole troppo gelate per sciogliersi al sole dormi sepolto in un campo di grano non è la rosa non è il tulipano che ti fan veglia dall'ombra dei fossi ma sono mille papaveri rossi. La guerra di Piero © 1964 Fabrizio De André "La guerra di Piero" was the B-side of a single released in 1964, and it received little notice. However, in 1968 the song became an anthem to militant anti-war students in Italy and achieved the stature of Dylan's "Blowin' in the Wind." The song has its origins in stories told to De André by his uncle, who served in World War II in the Albanian campaign and spent almost two years at the Mannheim concentration camp as a prisoner of war. He never recovered from the wartime trauma, but his stories made an indelible impression on the young De André. Even though credited only to De André, the music of the song was co-written with guitarist Vittorio Centanaro. "La giava," translated as "square dance," was in fact a fast waltz that became popular in France after World War I, considered by some an indecent dance because it involved touching the hips of the girl (gasp!).

You sleep buried in a field of grain. It’s not the rose, it's not the tulip that stands vigil over you by the shadow of the trenches, but a thousand red poppies. Along the banks of my stream I wish the silver pikes would swim past, no more the cadavers of soldiers carried in the arms of the current. Thus you were saying, and it was winter. And like the others, towards the inferno you go, sad as one who must. The wind spits snow in your face. Stop Piero, stop now, let the wind pass over you a bit. You carry with you the voice of the battle dead - whoever gave his life had a cross in exchange. But you didn’t hear it, and time passed with the seasons at the pace of a square dance, and you arrived to cross the frontier on a beautiful day in spring. And while marching, shouldering your spirit, you saw a man down in the valley with the very same mood as yours, but the uniform of a different color. Shoot him, Piero, shoot him now, and after a hit shoot him again until you don’t see him, lifeless, falling to the ground to cover his blood. And if I shoot him in the forehead or in the heart, he’ll only have time to die. But time will remain for me to see, to see the eyes of a man who is dying. And while you give him this consideration, he turns, he sees you and is afraid and, his artillery raised and aimed, he doesn't return the same courtesy to you. You fell to the ground without a cry and were aware in an instant that there would not be enough time for you to ask pardon for every sin. You fell to the earth without a cry and realized in an instant that your life was ending that day, and there would be no return. My Ninetta, dying in May takes way too much courage. Beautiful Ninetta, straight to hell I would have preferred to go in winter. And while the grain stood to hear you, in your hands you were gripping a rifle, in your mouth you clenched words too cold to melt in the sun. You sleep buried in a field of grain. It’s not the rose, it's not the tulip that stands vigil over you by the shadow of the trenches, but a thousand red poppies. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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Tutto Fabrizio De André: Il testamento - The Will

Quando la morte mi chiamerà forse qualcuno protesterà dopo aver letto nel testamento quel che gli lascio in eredità non maleditemi non serve a niente tanto all'inferno ci sarò già ai protettori delle battone lascio un impiego da ragioniere perché provetti nel loro mestiere rendano edotta la popolazione ad ogni fine di settimana sopra la rendita di una puttana ad ogni fine di settimana sopra la rendita di una puttana voglio lasciare a Bianca Maria che se ne frega della decenza un attestato di benemerenza che al matrimonio le spiani la via con tanti auguri per chi c'è caduto di conservarsi felice e cornuto con tanti auguri per chi c'è caduto di conservarsi felice e cornuto sorella morte lasciami il tempo di terminare il mio testamento lasciami il tempo di salutare di riverire di ringraziare tutti gli artefici del girotondo intorno al letto di un moribondo signor becchino mi ascolti un poco il suo lavoro a tutti non piace non lo consideran tanto un bel gioco coprir di terra chi riposa in pace ed è per questo che io mi onoro nel consegnarle la vanga d'oro ed è per questo che io mi onoro nel consegnarle la vanga d'oro per quella candida vecchia contessa che non si muove più dal mio letto per estirparmi l'insana promessa di riservarle i miei numeri al lotto non vedo l'ora di andar fra i dannati per riferirglieli tutti sbagliati non vedo l'ora di andar fra i dannati per riferirglieli tutti sbagliati quando la morte mi chiederà di restituirle la libertà forse una lacrima forse una sola sulla mia tomba si spenderà forse un sorriso forse uno solo dal mio ricordo germoglierà se dalla carne mia già corrosa dove il mio cuore ha battuto il tempo dovesse nascere un giorno una rosa la do alla donna che mi offrì il suo pianto per ogni palpito del suo cuore le rendo un petalo rosso d'amore per ogni palpito del suo cuore le rendo un petalo rosso d'amore a te che fosti la più contesa la cortigiana che non si dà a tutti ed ora all'angolo di quella chiesa offri le immagini ai belli ed ai brutti lascio le note di questa canzone canto il dolore della tua illusione a te che sei per tirare avanti costretta a vendere Cristo e i santi quando la morte mi chiamerà nessuno al mondo si accorgerà che un uomo è morto senza parlare senza sapere la verità che un uomo è morto senza pregare fuggendo il peso della pietà cari fratelli dell'altra sponda cantammo in coro giù sulla terra amammo in cento l'identica donna partimmo in mille per la stessa guerra questo ricordo non vi consoli quando si muore si muore soli questo ricordo non vi consoli quando si muore si muore soli. Il testamento © 1963 Fabrizio De André "Il testamento" was the A-side of the fourth 45 released by Karim, in 1963. De André was no doubt familiar with similar type songs by the French singer/songwriters Georges Brassens ("Le testament," 1955) and Jacques Brel ("Le moribond," 1961), as well as with the 15th century French poet François Villon, whose poem "Le testament: Ballade des dames du temps jadis" was the inspiration for Brassens's song. While these works may have given De André the idea for the setup of the song - the last will of a dying man - the lyrics themselves are classic De André, filled with humor, making fun of the well-to-do and siding with the have-nots. (Translation note: "rendita" means income earned on capital, like interest from a savings account or bond, and the most accurate translation is "unearned income." That translation would suggest that prostitutes earn their living without having to work for it. De André's intent here was to put the (good) money that could be made by a prostitute on the same plane as the (easy) money made by the moneyed class on their capital, or to posit a social outsider like a prostitute being able to earn and save enough so as to be able to receive "unearned income," probably to the chagrin of mainstream owners of capital.)

When death calls for me, maybe someone will protest after having read in the will what inheritance I am leaving them. Don’t curse me, it won’t do any good, I’ll be so far into hell already. To the protectors of the hookers I leave an accountant's task so that experts in their line of work keep the populace informed at the end of every week about the capital gains of a whore, at the end of every week about the capital gains of a whore. I wish to leave to White Mary, who doesn’t give a damn about decency, a certificate of merit that might pave the way to marriage, with all good wishes to whoever fell for it to keep themselves happy and betrayed, with all good wishes to whoever fell for it to keep themselves happy and betrayed. Sister Death, leave me the time to finalize my will, leave me the time to say goodbye, to pay my respects, to give thanks to all the great masters of ring-around-the-rosie ‘round the bed of a dying man. Mister gravedigger, listen to me a little. Everyone dislikes your work, they don’t consider it such a great joke to cover with earth whoever rests in peace. And for this reason I am proud to award you the golden spade. And for this reason I am proud to award you the golden spade. For that lily-white old countess who doesn't move an inch from my bed, so as to extract from me the insane promise of reserving for her my lottery numbers, I can’t wait to go among the damned to reveal all the wrong ones to her. I can’t wait to go among the damned to reveal all the wrong ones to her. When death asks me to give it back my freedom, perhaps a tear, maybe just one, on my tomb will be spent, perhaps a smile, maybe just one, from my remembrance will sprout. If from my meat already eaten away, where my heart beat out the time, should one day be born a rose, I give it to the woman who offered me her tears. For every beat of her heart I’ll render to her a red petal of love. For every beat of her heart I’ll render to her a red petal of love. To you who were the most sought-after, the courtesan who didn’t give it up to just anyone, you who now, at the corner of that church, offer likenesses to the beautiful and ugly alike, I leave the notes of this song. I sing the sadness of your illusion to you who, to scrape by, are compelled to sell Christ and the saints. When death calls me, no one in the world will realize that a man died without speaking, without knowing the truth, that a man died without praying, fleeing the burden of piety. Dear brothers of the other shore, we sang in chorus down there on earth, we loved in hundreds the same woman, we departed in thousands for the same war. This memory might not console you all - when people die, they die alone. This memory might not console you all - when people die, they die alone. English translation © 2014 Dennis Criteser Tutto Fabrizio De André was released in 1966 and is a compilation of singles released between 1961 and 1966.

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