Fabrizio de André

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Il pescatore
The fisherman


All'ombra dell'ultimo sole
si era assopito un pescatore
e aveva un solco lungo il viso
come una specie di sorriso.

Venne alla spiaggia un assassino
due occhi grandi da bambino
due occhi enormi di paura
eran gli specchi di un'avventura.

lala lalalala lala la

E chiese al vecchio, "Dammi il pane
ho poco tempo e troppa fame"
e chiese al vecchio, "Dammi il vino
ho sete e sono un assassino".

Gli occhi dischiuse il vecchio al giorno
non si guardò neppure intorno
ma versò il vino e spezzò il pane
per chi diceva ho sete e ho fame.

lala lalalala lala la

E fu il calore di un momento
poi via di nuovo verso il vento
poi via di nuovo verso il sole
dietro alle spalle un pescatore.

Dietro alle spalle un pescatore
e la memoria è già dolore
è già il rimpianto di un aprile
giocato all'ombra di un cortile.

lala lalalala lala la

Vennero in sella due gendarmi
vennero in sella con le armi
chiesero al vecchio se lì vicino
fosse passato un assassino.

Ma all'ombra dell'ultimo sole
si era assopito il pescatore
e aveva un solco lungo il viso
come una specie di sorriso
e aveva un solco lungo il viso
come una specie di sorriso.

lala lalalala lala la

At the last sun shade
it was a sleepy fisherman
and had a groove along the face
as a sort of smile.

To the beach came a murderess
two large eyes as a child
two enormous eyes of fear
were the mirrors of an adventure.

lala lala lalalala la

And he asked the old man, "Give me the bread
I have little time and too much hunger "
and asked the old man, "Give me the wine
I'm thirsty and I am a murderess. "

The eyes opened to the old man to the day
did not even look around
but poured the wine and broke the bread
for those who said I'm hungry and thirsty.

lala lala lalalala la

It was the heat of a moment
then out again into the wind
then off again towards the sun
back behind a fisherman.

Back behind a fisherman
and the memory is already suffering
is already the regret of an April
played in the shade of a courtyard.

lala lala lalalala la

Two policemen came in the saddle
were riding with their arms
asked the old man nearby
had been a murderess.

But the last sun shade
the fisherman had fallen asleep
and had a groove along the face
as a kind of smile
and had a groove along the face
as a sort of smile.

lala lala lalalala la

Live 13 e 14 February 1998 - Teatro Brancaccio Roma

Fabrizio de Andre and PFM - Premiata Fonderia Marconi

translation Enrico Massetti

It is one of the most emblematic ballads of De André, so to speak, primordial, a kind of manifesto for the characters "outside", countering once more the law. The meeting between the murderess and the fisherman occurs randomly and is consumed quickly, without ceremony and comments, almost indifference, but indifference of solidarity and sincerity that go beyond the common human relationships.

The murderess qualifies immediately for what it is and expresses his basic needs without pleasantries or diplomacy. The reaction of the interlocutor is surprising: he grants the wishes of the killer without fear, without question and without matter of principle, as was natural to have anything to do with a murderer. So we rediscover the human condition beyond the simplest of all convention and peep the memories of childhood, the age of the game when perhaps there was no need to find defenses to cope with the world. The arrival of the police, perhaps the same ones who mercilessly hunted Bocca di Rosa from St. Hilary, leaves impassive the protagonist, who is not even worthy to respond and is already sunken back into his afternoon sleep. The final stanza coincides with the initial one, and refers to a time not spent or otherwise removed. This time will be the executioners to remain humiliated because they are not even worthy of a look or a response. It just sort of smile with which the fisherman looks slyly to the world with the air of one who knows how.

The musical structure is very simple: three chords throughout the song, a melodic line without virtuosity that runs almost all the degrees of the scale of tonality and an interesting interplay of guitars, two acoustic and one electric accompaniment function that responds the voice of the stanza. The verses are separated by a musical phrase whistled, to give a respite to the narrative.

There will surprise a decade later with the live version of this song for instrumental distortions created from the arrangement of the PFM
[Matthew Borsani - Luca Maciacchini, Anime Salve, pp. 61-62]

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