In the “Red Section” are collected those compositions that exude a certain passion that often emerges from our more human side.
These are therefore old compositions that have given way to more measured and conscious compositions (this is the case of Haiku Irregolari in Forma di Musica, but above all of Carmina in Spiritum ). However, since the human soul often falls into its chaotic and Dionysian side, I cannot say that this section is only part of past compositions, it remains a section open to any moods that are part of me and therefore sometimes ask to be expressed.
Some of these lyrics were used in the musical work “Sang pour Sang” for the musical project Les Jumeaux Discordants of which I was the founder.
Dove eravate voi
mentre la mia foresta bruciava?
Dove eravate voi
mentre le navate della mia Casa si riempivano
di macerie?
Canto senza fine
danzando le mie note rimbalzano
tra le colonne.
Dove eravate voi
che desiderate ora la luce
dall’ alto?
Nella miseria del vostro essere.
Quello che è rimasto
è l’ eco di queste mie
note, queste macerie
e questa luce.
La mia luce.
Where were you
while my forest burned?
Where were you
while the aisles of my House were filled
of rubble?
I endless sing,
me dancing, my notes bounce
between the columns.
Where were you
wishing now the light
from above?
In the misery of your being.
What it remains
is the echo of these
notes of mine, these rubble
and this light.
My light.
Meergruß
Thalatta! Thalatta!
Sei mir gegrüßt, du ewiges Meer!
Sei mir gegrüßt zehntausendmal,
Aus jauchzendem Herzen,
Wie einst dich begrüßten
Zehntausend Griechenherzen,
Unglückbekämpfende, heimatverlangende,
Weltberühmte Griechenherzen.
[…] » Heinrich Heine
Ελευθερία ή Θάνατος!
Canta e incanta
la Terra con l’oro
trascende Natura
e Natura trascende
al cielo donando
il ventre dorato
crisalide
diafana d’ombra
e in Sole il Carro
mutando in luce
svanisce.
Sorride Selene, mano
d’argento si levano
d’acqua cori
le maree
danze ritmate
accolgono Crònos.
È il Tempo.
È tempo di guerra
anime di Sparta!
Incrocino ateniese
e lacedemone il dardo
letale falange di saggezza
e sangue sia
il pensiero, fluido
di vita e sapienza.
Canta e disincanta
la Terra col sangue
trascenda ignoranza
e disarmonia trascenda
al cielo donando
ultimo il canto
armonioso del Cigno.
« Thalatta! Thalatta!
Ti saluto, mare eterno!
Ti saluto diecimila volte,
Col cuore sospirante,
Come una volta ti salutarono
Diecimila cuori di Greci,
In lotta con la sventura, in desiderio di patria,
Cuori di Greci famosi nel mondo.
[…] » Heinrich Heine
Ελευθερία ή Θάνατος!
A chant and an enchantment
rising from Earth through gold
something transcending Nature
Nature herself transcends
offering as a gift
her golden womb
a diaphanous chrysalis
of shadow, into Sun
transmuting Ursa Major
– and into light she vanishes.
Selene smiles, the silver-handed one
the tides are raising choruses
from water,
rhytmical dances bid welcome to Chronos.
The time has come.
Time to wage war,
O Spartan souls!
So, let them break their lances,
the Athenian with the Lacedaemonian,
– deadly phalanx of wisdom –
and blood
may be the thought, a fluid
of life and knowledge.
A chant, a disenchantment
rising from Earth through blood
may she transcend all ignorance
may she transcend disharmony
and may she give to heaven
the last song,
the melody of the Swan.
Affondo gelide lame
d’amore e odio intrise
di sangue e passione
i miei slanci, avrebbero voluto
essere
Uno.
Miseri
Esseri
Umani
I thrust cold blades
imbued with love and hate
of blood and passion
my impulses would have liked
to be
One.
Miserable
Beings
Humans
Mani,
scolpite sul mio corpo
sentieri di fuoco!
Non tombe coperte di rose
vessilli appassiti
di passioni passate,
respiri sospirati
di visioni vissute,
eternamente perse
in un’emorragia cerebrale.
E fuoco ancora sia.
Hands,
carve on my body
paths of fire!
Not tombs covered with roses
withered banners
of past passions,
sighed breaths
of lived visions,
eternally lost
in a cerebral hemorrhage.
And still be fire.
“Carmina in Spiritum” is the result of a period particularly inspired by precise and profound astral conjunctions that determined the compositions in a praxis that I would dare to define mystical. The cosmic and absolute dimension of the texts, which goes to the limit of invocation to self-annihilation, consists of a series of carmina (chants, hymns) dedicated to the elements or spirits that hold the main inner forces holding the spirit and preserving it in the its strength and integritas.
The hermeticism of these short compositions is witness to instantaneous gesture, to immediate thought; the ultimate expression of the synthesis of sensation, where inner and outer universe coincide to the point of getting lost in the snapshot of the image. The haiku, eidolon of the feeling, is an overview, a picture of a section of reality which is transfigured and permeated by the feeling itself.
This collection of poems contains those compositions which occurred in a particular state of mystical-revealing ecstasy. While “Carmina in Spiritum” are poems written in a state of possession (enthusiasmòs); in this case they are mostly poems created thanks to a moment of instant revelation, comparable to divine shock, instantaneous, faster, more mental and controlled. These poems sealed illuminating moments of sudden change, of brainwave.
In the “Red Section” are collected those compositions that exude a certain passion that often emerges from our more human side.These are therefore old compositions that have given way to more measured and conscious compositions. However, since the human soul often falls into its chaotic and Dionysian side, I cannot say that this section is only part of past compositions, it remains a section open to any moods that are part of me and therefore sometimes ask to be expressed.
The white section contains poems born from moments of extreme psycho-physical suffering. These are poems where disease and the sense of imminent death prevail, expressed through landscapes of the soul in extreme paralysis in the face of the stagnation of vital energies. What prevails is the discomfort that nothing can change; the awareness that pain, in its continuous iteration, continually digs in depth, increasingly removing the possibility of being reached by any light source of redemption and evolution.
Percezioni Cubitse was my first prose experiment which immediately failed, falling into the form of prose poetry, or surreal prose in the manner of Fernando Pessoa. Born as a kind of Kammerspiel, it soon degenerated into an autobiographical collection of scattered sensations. They are collected here in light of their descriptive value of situations and relationships lived beyond their “real” dimension, following the thread of my particular sensitive virtues.
