| Tutti morimmo a stento | |
| Type: | Studio album |
| Artist: | Fabrizio De André |
| Cover: | 1968 tutti morimmo lp bell a5.jpg |
| Released: | November 1968 |
| Recorded: | August 1968 |
| Studio: | RCA Italiana studios, Rome |
| Genre: | Folk |
| Length: | 33:41 |
| Label: | Bluebell Records (BB LP 32) |
| Producer: | Gian Piero Reverberi Giorgio Agazzi |
| Prev Title: | Vol. 1° |
| Prev Year: | 1967 |
| Next Title: | Vol. 3° |
| Next Year: | 1968 |
Tutti morimmo a stento ([1] is the second album and the third studio release by Fabrizio De André, issued in 1968 by Bluebell Records. The album, whose lyrics are inspired by the poetry of François Villon, is considered one of the first concept albums to be produced in Italy.[2]
In 1969, Italian producer Antonio Casetta had the idea to realize an English version of the record, so De André re-recorded the vocal tracks. This version was never officially released and the only printed copy was thought to be lost until 2007, when a U.S. collector revealed that it had been in his possession for almost 40 years.[3]
The opener of the album is based on a Riccardo Mannerini poem titled "Eroina" ("Heroin").
The protagonist of the song is a drug addict who, on the verge of death, imagines seeing glass pixies, the bounds of infinity and the sound of silence. In his last moment, he seems to regret his ways, seeing his drug addiction as a coward's escape from reality.[4]
This is the first of three short interludes on the album, all featuring poetical lyrics over the same melody, each of which follows the same lyrical theme as the preceding song. This one continues with the theme of psychedelic visions.
A free rewrite of "Le Père Noël et la Petite Fille", a Georges Brassens song from 1960, "Leggenda di Natale" is about the loss, destruction and violation of innocence, told through the story of a girl who remembers her childhood, during which she was raped by an unknown man. All this is expressed in a very resigned, poetical style, without saying anything explicitly.
Similar to the first interlude, this second one continues the theme of the previous song, describing the girl's lost innocence as a dying flower.
A slow, dirge-like folk ballad, "Ballata degli impiccati" is closely related to a poem, Ballade des pendus, written in 1462 by French poet François Villon while waiting for his execution. However, while Villon asks for pity for the condemned, those in the lyrics of De André and Bentivoglio express rancor for the ones who judged, buried, and even remembered, all of whom will inevitably also meet their ends. These condemned men are unrepentant, and in death sit in judgment against the cruelty of capital punishment, waiting to restart their "suspended discourse" until joined in death by those who sent them there.[5]
A heavily orchestrated rock ballad, alternating soft and loud dynamics between verses and choruses, "Inverno" is against the pursuit of guarantees regarding love, as if love were like an automobile. One must remain open to love, but without trying to condition when it might arise and when it might die.
This is a darkly ironical song, including some nonsense lyrics (marcondiro 'ndera, marcondiro 'ndà) traditionally used by Italian children during Ring a Ring o' Roses playground games, as a refrain. The bulk of the lyrics, though, are all-but-nonsense, in that they describe the impending start of a nuclear war and the consequent annihilation of mankind. At the end of the song, children are implied to be the only survivors and sing about "playing war games", re-starting the loop. De André sings together with the children's choir I Piccoli Cantori.
Like the two preceding interludes, this third one expands on the theme of the previous song, namely war, by painting a bleak and discomforting picture of a post-war scenery, also comparing the devastation of war to disillusionment in love.
As the title says, this piece juxtaposes spoken verses with a chorus sung by an operatic choir - both accompanied by a chorale orchestral tune composed by Gian Piero Reverberi in the style of Johann Sebastian Bach. The lyrics, first recited by De André with a pointed, accusatory tone and then sung by the choir in a lighter, fairytale style, make the case that a merciful outlook should underpin all human affairs, as death waits patiently for each of us regardless of our station in life.[6]