Fabrizio de André

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Caro Amore
Dear Love


Caro amore
nei tramonti d'aprile
caro amore
quando il sole si uccide
oltre le onde
puoi sentire piangere e gridare
anche il vento ed il mare.

Caro amore
così un uomo piange
caro amore
al sole, al vento e ai verdi anni
che cantando se ne vanno
dopo il mattino di maggio
quando sono venuti
e quando scalzi
e con gli occhi ridenti
sulla sabbia scrivevamo contenti
le più ingenue parole.

Caro amore
i fiori dell'altr'anno
caro amore
sono sfioriti e mai più
e nei giardini ad ogni inverno
ben più tristi sono le foglie.

Caro amore
così un uomo vive
caro amore
e il sole e il vento e i verdi anni
si rincorrono cantando
verso il novembre a cui
ci vanno portando
e dove un giorno con un triste sorriso
ci diremo fra le labbra ormai stanche
"eri il mio caro amore".

Dear love
in the sunsets of April
dear love
when the sun kills itself
over the waves
you can hear crying and screaming
even the wind and the sea.

Dear love
so a man crying
dear love
at the sun, at the wind and at the green years
that they go singing
after the morning of May
when they came
and when barefoot
and with laughing eyes
happy we wrote on the sand
the most naive words.

Dear love
the flowers of the other year
dear love
are faded and will never
bloom again
and in the gardens every winter
well saddest are the leaves.

Dear love
so a man lives
dear love
and the sun and the wind and the greens years
chase themselves singing
towards the November in which
they are bringing us
and where one day with a sad smile
we will tell us in our mouth now tired
"you were my dear love."

translation by Enrico Massetti

The story of "Dear love," the "song expelled," is well known: the theme song and' the middle of the famous "Concierto para Aranjuez" (1939) by Spanish composer Joaquín Rodrigo, who died aged 98 in 1999, which have been adapted a bit of the words' all over the world. And so 'you have a Spanish version (sung, among others, by José Feliciano) and those sung in Italian by Dalida and Fabrizio de Andre'.

With regard to the latter, it is generally believed to be an autonomous text of De Andre ', and I believed it myself until, sfogliacchiando l' "Anthologie de la chanson française" by Pierre Saka, I found the following text in the I will speak.

It is "Arranjuez [sic] mon amour" sung by Richard Anthony. Born in 1938, Richard and Anthony 'was dubbed the "Tino Rossi of rock' n 'roll and twist" and is thus a "singer dance," and maybe he can' surprise to find a melody in his repertoire of origin symphony. But so be it '. The song, and as' specified correctly in the notes, and 'built' sur le thème musical de Joaquim [sic *] Rodrigo "from a" Guy de poème Bontempelli". So this is a poem set to music (or rather, adapted to the music of Rodrigo), a typically French tradition (see, for example, the many poems set to music by Georges Brassens, who have some reflection in De Andre').

This poem authorizes me to state that text of De Andre' and it 'a translation, or rather a "rewriting" in key sentimental thing entirely arbitrary, since the poetry of Bontempelli, faithful in this the symphony of Rodrigo, contains completely different references.

The "para Concierto Aranjuez" was inspired by an episode of the 1806-1808 war against Napoleon. On May 3, 1806, in the city 'of Aranjuez (not far from Madrid) a group of insurgents was put on the wall and shot by French troops, and this episode furnaces', inter alia, Goya inspiration for his famous painting "Los fusilados de 3 de mayo". The theme music of Rodrigo describes exactly that episode, far from sentimental, then. For his patriotic character, the "Concierto para Aranjuez" was immediately "adopted" by the baby Franco's regime, the composer was even created "Earl of Aranjuez" motu proprio by Francisco Franco in person.

From: "Riccardo Venturi" <venturik@ifrance.com>

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