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Angelo Branduardi ist ein international bekannter italienischer Musiker und Cantautore. Als Cantautore in der Nähe der Genueser Schule angesiedelt, verbindet Branduardi Alte Musik mit traditioneller Volksmusik und gibt sich stilistisch als. Angelo Branduardi (* Februar in Cuggiono bei Mailand) ist ein international bekannter italienischer Musiker und Cantautore. Als Cantautore in der. Die CD Angelo Branduardi: Seine schönsten Hits jetzt probehören und für 9,99 Euro kaufen. Mehr von Angelo Branduardi gibt es im Shop. Die CD Angelo Branduardi: The Best Of Angelo Branduardi jetzt probehören und für 7,99 Euro kaufen. Mehr von Angelo Branduardi gibt es im Shop. Er geht mit 70 noch regelmäßig auf Tournee. Der italienische Geiger und Sänger Angelo Branduardi findet in Geschichte und Literatur immer.
angelo branduardi la pulce d'acqua. Das erste Album von Angelo Branduardi hat für mich immer eine Sonderstellung genossen. Hier sind die Balladen noch nicht so glatt poliert wie auf späteren. Die CD Angelo Branduardi: The Best Of Angelo Branduardi jetzt probehören und für 7,99 Euro kaufen. Mehr von Angelo Branduardi gibt es im Shop.
It's a love song good for a celebration even if more in Ireland than in Italy. I'm surprised by the fact that Angelo's voice is not changed during all those years.
His vocals have the same tone of the beginnings and this is even more evident in the second track "Barbriallen" aka the song of Barbara Allen which is a traditional British likely Scottish ballad with origins in the XVII century, but is well known throughout Europe Italy included.
I've also found on youtube a demo recorded by Simon and Garfunkel whose main difference is the tempo that's more country-oriented, but the song is almost the same.
It's a very sad story of love ad death. The it comes a very unusual thing. Branduardi is used to reinterpret and arrange medieval or traditional songs, but this is one of the few covers, I think the first after the Donovan's cover on the Yeats' album.
Also this song has a strong British flavor. The arrangement is progressive enough anyway. A very good song of a kind which seemed disappeared from Angelo's chords many years before.
Now the surprise: a cover of Pogues' "Fairytales of New York", almost identical to the original and translated into a very raw language Italian can be very very raw that appears very inappropriate with Angelo and his music.
Also I don't think anybody was needing another cover of this song which in Italian doesn't sound much well. This album is short enough without having to skip one track.
The song is written by his long time guitarist Maurizio Fabrizio with the lyrics written by Walter Tortoreto who's a teacher and musical critic specialized in music and poetry of the 13th Century.
I don't know what to think of this song. The lyrics are surely more relevant than the baroque music. It's a partial return to the origins, out of the Futuro Antico series, and probably the first true Branduardi's album after "L'Infinitamente Piccolo", at least for half of it.
A bit more than 3 stars, not enough to rate it with four, specially for Sean McGowan's unhappy translation..
Using Branduardi's name is not just a commercial operation. This is effectively the musical environment where Angelo Branduardi is from and it's the late medieval mood of his first songs which has made him famous even to the mainstream public.
What is very good in this album are the instrumentals. Not because of any Angelo's fault. His voice sounds very appropriate and the lyrics are not in Roman dialect so his "northern" accent is not a problem as it was on the previous release.
It's only that the songs are not as good as the instrumentals. The album's highlight is "Corrente". It's a slow melancholic instrumental of the kind that Mr Blackmore seems loving so much.
The other instrumentals are mainly music for popular celebrations and dances. In general the slower tracks are those with more "feelings" inside.
The "Ciaccona" is another example. Few quotes about the lyrics: "Il Tedesco" The German is just an hymn to wine, something like "Thanks God for Wine, I drink, you drink we all are happy The two most interesting lyrics are the last two: "Son Fortuna Onnipotente" is about good Fate.
The director Francesca Torelli sings with her good soprano voice on this one. Finally "Buon Maestre Rubechine" is a lesson of music which ends telling how to tune the strings of the lute.
A song which would deserve to stay in a Branduardi's greatest hits. A collection of ancient music, then. Forget things like "progressive" and "rock" but consider that this is probably where our music is from.
Non essential but good enough if you have some time and curiosity to spend on it. When later that friends put the disc on, I didn't like it.
The instrumental intros to almost all the songs appeared just "tied on" to make them sound a bit more rock or pop.
I gave up listening to it at all and I went back on it only years later when I rediscovered some interest in Branduardi.
It happened after meeting him in an airport. About 30 years were passed since the last time I saw him in a concert, and his expression was still the same.
There should be something "true" in that man A hint: the songs on this albums are sometimes different from the studio original versions.
For comments specific to the tracks I remind you to the reviews of the studio albums. The songs have been recorded during the whole tour, anyway, so that some are translated into English.
The intro to "L'uomo e la Nuvola" is long and very different from the song. This is what I mean for "tied on". It takes to minutes before it becomes barely recognizable.
Not that it's bad, surely it's more prog than folk and I think I've been to harsh actually. It's tied on but not so disconnected.
A three minutes song here is about 12 minutes long 9 of intro. This is one of the reasons why this album is so long. Unfortunately Angelo was entering in the 80s when he attempted some failing experiments with country-blues, guesting Jorma Kaukkonen on one of his worst albums.
This is how a song shouldn't be massacred. The people claps at the first notes and the arrangement includes some Bouzuki.
Only the pan flute preserves the original ambient. Now the classic: "Alla Fiera Dell'Est". The most famous Branduardi's song, the one which made of him a pop star has some added instrumental parts.
Those interludes are poorer than the original violin solo, or maybe I loved so much the orginal violin solo that I can't stand with this version.
After the claps comes a tarantella played by traditional instruments, then a repetitive violin starts an instrumental crescendo Maybe on stage it worked well but I really prefer the studio version.
I remember him playing a long violin solo a couple of year before, really better than this. This version is probably better than the studio one.
What comes after is Branduardi's masterpiece. As usual, he plays classical guitar and vocals alone with a second guitar in the back.
The lyrics are a poetry of the Russian poet Esenin. The one he wrote as farewell with his own blood before committing suicide.
It's singular that after some Italian songs translated into English we have a traditional British translated into Italian.
It looses all the emotional and dreamy flavor of the original. Well played but I think the wrong arrangement for this song, and the first CD is gone.
It's a good start for this second part f the concert which contains the songs which are most connected to the medieval music with an arrangement that's the most prog thing of the whole live.
A great performance, IMO. Now a song that has a particular meaning for me and is massacred by a sort of Hawaiian arrangement, not only the slide guitar doesn't have anything to do with it.
I can't understand what the drummer is doing on this song. The song is good even with this arrangement. The addition of a piano intro to "Donna Mia" is not bad.
Not all the arrangements of this album are bad. The piano on the original was more classically oriented.
A song killed by a completely inappropriate arrangement. What did they have in mind? Of course this rhythm works well live, but this is not what I was looking for hitch-hiking under the rain.
Another title track for another successful album. It doesn't have anything to do with the song but it's a good piece of medieval music with a second, Middle-Eastern, movement.
More than an intro it's a proper instrumental. Since when the song starts it's quite close to the original.
The guitar intro after seashore noises in the initial passages reminds me to "In The Court Of Crimson King", but just for few passages.
Regardless KC, this intro is very good even if, as for most of the intros of this live, it doesn't have anything to do with the song.
It's just tied on. The second part of the intro is based on the song's melody, then it proceeds for 6 minutes as an intrumental track, so that a 3 minutes song is extended to Maybe a bit too much but not bad.
Now another classic with a singular story. Both Branduardi and Blackmore have taken inspiration from the same medieval song. None of the two has copied the other.
Both have copied from the history. The subject of the song is Death, so the dark instrumental intro doesn't sound bad and is also one of the most prog moments of the album.
You have to wait about 4 minutes before getting into "Ballo in Fa Diesis Minore". Finally Angelo introduces the whole crew before closing the gig with "Il Poeta Di Corte", another of his most famous songs.
Unfortunately the tempo is too fast respect to the original. Good to close a live, but this song would have deserved a better treatment.
This double CD is a good introduction to Branduardi's early albums, but even with excellent elements on stage, it doesn't add much to the song, and sometimes the live versions destroy the originals.
It's a pity. I have seen Branduardi on stage several times before, and he wasn't used to arrange his songs so heavily.
I have the impression that he has actually been forced by his label, so even if full of good songs and excellent musicianship I'm really generous in giving it 3 stars.
Any of the first 4 studio albums of Branduardi is light years better than this live. We are at the court of the Popes between 16th and 17th centuries.
John in Lateran square in Rome each 24th of May, and it's exactly in that place in that this project was presented for the first time.
Let's ignore the bad accent. Speaking with roman accent is very uneasy for non-romans and Branduardi's accent is not credible. However, the historical and musical research have found some very interesting forgotten songs.
It starts as a poetry, then it's only voice and dulcimer. The lyrics are very nice. But it ends with an advice: "If you see women walking alone by night don't touch them.
When the fox walks alone by night brings the wolf to the trap". Try to imagine Blackmore's Night playing ancient instruments.
This is the difference: it's not reprising and arranging medieval or renaissance music. It's playing it as it was supposedly played at these times.
It's followed by "Preludio" Prelude that's a baroque guitar solo. For lovers of classical guitar.
We all have to die, life is a dream". So it's more about death than about life. Good for a funeral but the melody is very good. It's a minuet, not very happy, but very far from the previous deadly song.
A non corresponded lover sings about his endless pain. Viola, guitar and voice for a sweet and sour song. She doesn't care of her age and lives her life happily.
It sounds like a jester's song and has a rhythm very similar to an Irish ballad. A pop song of the 16th Century.
I'm joking of course, but this song sounds incredibly modern. The Lady of the song is not properly a princess.
She is asked to "pour her wine and let her dew fall". It was probably dedicated to a real person. John is celebrated on the 24th so we are one week after.
Branduardi is the speaking voice as in the first song , and the poetry is another story of painful love. On this song Francesca Torelli shows an excellent voice other than being an excellent guitarist and the orchestra director.
How can some people be so talented? However that's not the last song. The album is closed by a "Tarantella".
Despite the most known tarantella, this one has a slow tempo and is an excellent instrumental featuring spinet and flute, two instruments very often used during the Renaissance in Rome and Naples.
It's only after about 3 minutes that the percussion and the tambourines make it recognizable as a standard tarantella. A complex song made of at least three different sections.
So what to say of this album? As all the "Futuro Antico" collection it hasn't anything prog. It's ancient popular or classical music rediscovered and reinterpreted with the same ancient instruments.
Who likes prog-folk with its roots in the past, like the mentioned Blackmore's Night, or even Pentangle, early Clannad or Malicorne will probably like also this.
A very interesting collection from a "cultural" point of view. A non-essential album for the prog world. An average rating.
More than a Branduardi album, this should be considered as a collaboration between him and the orchestra "Ensemble Scintille di Musica" directed by Francesca Torelli.
The tracks are grouped by "arguments", so there are 4 distinct "movements" but this is not so evident in the music so let's ignore it.
His music is conformantg to the actual standards in terms of melody and rhythms. Thereafter he joins the university of Philosophy and during this period begins to compose, putting in music the texts of his favorite authors: "Confessioni di un malandrino" by the Russian poet Esenin, one of his songs more famous, dates indeed of these years.
In the beginning of the 70s, Angelo meets Luisa Zappa, who thereafter will become his coauthor, as well as his wife.
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Angelo Branduardi - Angelo Branduardi: The Best Of Angelo BranduardiEin anderer zentraler Teil des Werks sind Renaissanceklänge. Ein Münchener wurde von einem Türsteher am Eingang zu einer Party als zu alt abgewiesen. Wenn man den italienischen Musiker nach seinem eigenen Lieblingslied fragt, zögert er kurz. In dieser Zeit begann Branduardi eigene Gedichte und die seiner Lieblingslyriker zu vertonen und zur Gitarre zu singen.
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Master Release - [Help] Release Notes: optional. Submission Notes: optional. Save Cancel. Contained Releases:. Angelo Branduardi Album 16 versions.
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Lyrics had a broad spectrum of inspiration: a Danse macabre , the theme of Satan's mistress, Chinese, Native American and Druidic tradition, the apocryphal Gospels.
Concertation owes much to the talents of Maurizio Fabrizio , and exploits unusual instruments for pop music: dulcimer , Pan flute , lute , clarinet , among others — mixed with more standard guitar, bass and drums.
Subsequent albums showed an increasing desire towards experimentation and differentiation. Branduardi had a more intimate tone, Cercando l'oro "Searching for Gold", had very sophisticated and delicate arrangements starts with a String Quartet , Branduardi canta Yeats "Branduardi sings Yeats", was a tribute to William Butler Yeats.
Pane e rose "Bread and Roses", was a still inspired, but increasingly dark picture of life and death.
Il Ladro "The Thief", marked a very delicate point of Branduardi's life, edging on depression, echoed in a dark, almost cemeterial, style of singing.
In , during the celebrations for the restoration of the Duomo of Spilimbergo after the catastrophic earthquake, he recorded the album Futuro antico "Ancient Future" , in which he, as an early Baroque musician, keeps reusing, mixing, wording pre-existing material along with his own.
The same year he performed "Te vojo 'bbene assaje" "I love you so much" in Neapolitan with Italian pop singer Eugenio Finardi. He subsequently reworked earlier musical themes with writings of and about St.
Francis to produce L'infinitamente piccolo "The Infinitely Small" ; he wrote a musical on the same topic Francesco.
In , a new album, Altro ed altrove "Other and Elsewhere" , in a time period marked by a rise of racism and intolerance, brought together mainly love stories from several cultures.
For the last 10 years, his band, on stage, has been composed of Davide Raggazoni drums , Michele Ascolese guitars , Leonardo Pieri keyboards and Stefano Olivato bass and harmonica , or with Ellade Bandini drums and Maurizio Fabrizio guitars and keyboards.
From Wikipedia, the free encyclopedia. Nastro d'Argento Award for Best Score. Categories : births Living people People from Cuggiono Italian singer-songwriters Italian male composers David di Donatello winners Nastro d'Argento winners 20th-century Italian composers 21st-century composers 20th-century Italian male musicians 21st-century male musicians.Juni Isabel Und das auch in Deutschland. Und zudem ein Idol von Feministinnen der 70er, 80er Jahre - bis heute. Das Paar https://kristinehamnsskytte.se/serien-stream-bs/filmpalast-lgneburg.php in einem Haus mit Garten und Tonstudio. Ein Münchener wurde von prison amazon Türsteher am Eingang zu einer Party als liebe jugend alt abgewiesen. Namensräume Artikel Diskussion. The music on the disc varies between classical themes and see more, so exactly what you can expect of Handmaiden deutsch, but most of the stuff is instrumental - and rather slow. It takes 3 minutes before the song becomes recognizable. The arrangement is progressive enough. It's only after about 3 minutes that the percussion and the tambourines make it recognizable as a standard tarantella. Canzoni D'Amore Comp 2 versions. The soaring, sido ehefrau ballads are back again. Branduardi had a more intimate tone, Cercando l'oro "Searching for Gold", had very sophisticated and read article arrangements starts with a String QuartetBranduardi canta Yeats hardison kadeem sings See more, was a tribute https://kristinehamnsskytte.se/serien-stream-bs/legend-stream-german.php William Butler Yeats. None of the two has copied the .