MARCO CANTINI - La Febbre Incendiaria

Product code RM1504
Category CD
Brand RadiciMusic Records
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Digipack with 3 sleeves artistic paper containing  Booklet 20 Pages 12X13,5- Release Date: 15/10/2018 - Singer-SongWriter - Tuscany - CD

 TRACKLIST

1. Ida In Lotta  4:42

2. Manonera  5:07

3. Un Figlio  4:23

4. Classe Operaia  5:31

5. Classe Borghese  4:32

6. L'Anarchia  5:15

7. Anaciclosi  5:06

8. Il Potere  4:03

9. L'Orrore  4:44

10. Luglio '43  5:16

11. Ceteri Desunt  2:16

12. Nel Rifugio, L'Idea  4:35

13. Dell'Inizio e La Fine  4:28

14. La Storia

The incendiary fever is my personal tribute, heard and passionate, to Elsa Morante: a concept album - after We are the ones we expected - loosely inspired by La Storia, his most successful novel released in 1974.

Already from the seventeenth century - with Claudio Monteverdi including the musical potential of the liberated Jerusalem of Torquato Tasso - music has drawn from the great expressive skills of literature: dizygote arts that often have combined together. I think of the cantacronaches in the '50s, to the fundamental contribution given by the texts of poets such as Bertolt Brecht, and to the great singer-songwriters who remain for the irreplaceable points of reference: Fabrizio De Andrè with La buona novella and Non al money, not to love nor to heaven, two masterpiece albums taken respectively from the apocryphal Gospels and from the Spoon River Anthology by Edgar Lee Master. Without forgetting the song-theater of Giorgio Gaber and Sandro Luporini, inspired by the models of Jean-Paul Sartre or Jorge Luis Borges, and the countless examples of other disproportionate artists - from the inspired bookish consciences that reached their creative climax in the 70s - like Francesco Guccini, Claudio Lolli and Francesco De Gregori.

There is a common thread that binds my previous concept We are the ones we expected - that through the dream of a professor he outlined the student movements and the artistic avant-gardes of '77 Bolognese and not only - at the incendiary fever: the never-ending memory to itself, the lives of characters on which the official history of events frames; those same lives, champions of a universal mechanism, crushed in the gear of the history of death: ergo their dying - as Pasolini underlined in 1974 about the work of the Morantian - has a clear function preordained.

Historical facts are once again the common denominator. But this time the time machine leads the listener to Rome, at the height of "a definitive point of horror" (so Elsa Morante defined the twentieth century), during the last war years and immediately after the war: in History with the capital S - suffered and not required by millions of lives - which grafted events that continued to press on survivors even in later years, as the effect of a disastrous atomic mushroom.

The urgency was to continue to narrate the lives of the vanquished, the stories of others that belong to us, making the same priorities as the great writer in 1974: recover a social and civil conscience, siding against the system of abuse, against a a power that has always been able - today as then - to annihilate those victims who have the "one and only fault of being born", investigating and fixing a point of view on our social and political past: in this, prolonging a discourse interrupted by the previous album .

Thanks to the precious support in the artistic production of Gianfilippo Boni - musician and singer-songwriter of rare sensitivity and ability, to whom I once again owe a lot - and a well-established and close-knit team of extraordinary musicians such as Lele Fontana, Lorenzo Forti, Riccardo Galardini, Claudio Giovagnoli , Francesco "Fry" Moneti and Fabrizio Morganti (with whom the arrangements were born during the rehearsals) it was possible to make this album, recorded in large part live - as was done in the '70s - at the SoundClinic Studio @ Larione 10 of Florence. Alessandro Camiciottoli, a writer who for me remains a fundamental advisor and an invaluable friend, and other precious traveling companions - musicians, artists and singers - who have overdubbed their contribution: Roberto Beneventi, adds to the aforementioned musicians. Andrea Beninati, Serena Benvenuti, Nicola Cellai, Silvia Conti, Stefano Disegni, Tiziano Mazzoni, Nicola Pecci, Valentina Reggio, Marco Rovelli, Claudia Sala, Gabriele Savarese and Riccardo Tesi.

In conclusion, following the quotation of a letter from Antonio Gramsci's prison - which the writer calls into question at the end of the book as Matricola n. 7047 of the Criminal House of Turi - I hope that this record can be a seed capable of not failing and sprouting, in those who want to listen, a flower and not a weed.

To all of you, listen well.

Marco Cantini
MUSICIANS:

Marco Cantini: Voice, Acoustic Guitar

Valentina Reggio: Voice

Silvia Conti: Voice

Tiziano Mazzoni: Voice

Nicola Pecci: Voice

Marco Rovelli: Voice

Serena Welcome: Voice

Claudia Sala: Voice

Riccardo Galardini: Electric Guitar, Acoustic Guitar, Classical Guitar

Lele Fontana: Hammond, Piano

Gianfilippo Boni: Plan

Francesco "Fry" Moneti: Violin, Mandolin

Lorenzo Forti: Electric Bass

Roberto Benvenuti: Accordion

Nicola Cellai: Trumpet

Riccardo Tesi: Diatonic Organ

Fabrizio Morganti: Battery

Claudio Giovagnoli: Tenor Sax, Alto Sax, Flute

Gabriele Savarese: Violin

Andrea Beninati: Cello

Stefano Disegni: Harmonica

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