Francesco Guccini

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Francesco Guccini 2013

Francesco Guccini (  [ franˈtʃesko ɡutˈtʃiːni ] ; born June 14, 1940 in Modena ) is an Italian cantautore (song poet), writer and occasional actor . Please click to listen!Play

He grew up between the mountains of Pàvanas and Modena and then moved to Bologna . After his first musical attempts from the late 1950s between rock 'n' roll and beat , also as a songwriter for other artists, the musician made his solo debut in 1967 with the album Folk beat n.1 . An important source of inspiration was Bob Dylan . His breakthrough came in 1972 with the fourth album Radici and especially in 1976 with the album Via Paolo Fabbri 43 . In a career spanning over 50 years, Guccini has released more than 20 music albums. In addition, he is still successful today as a writer, comic book author , actor and composer of film soundtracks . He also taught Italian to American students for 20 years .

Guccini is one of the most important and popular cantautori in Italy and helped shape the genre of the " author's song ". His texts are lyrically outstanding and thematically diverse, mostly slightly fatalistic and often to be understood as documents of the zeitgeist . Even if he is often perceived as very politically active, he largely avoids open political rhetoric in his texts in favor of intimistic language. In conjunction with his writing activity, he takes on the role of a storyteller . Guccini has received numerous awards, both music and literature: he not only received the Tenco Prize from Club Tenco , but also five Targhe Tenco and the Premio Chiara for song lyrics. In addition to the recognition by the critics, Guccini is also popular with a broad audience: his albums reached the top of the Italian charts several times and his concerts were extremely popular. The Cantautore has also received two honorary doctorates and the Order of Merit of the Italian Republic .

life and work

Childhood (1940–1950)

View of some houses in Pàvana (2016)

The musician was born as the son of Ferruccio Guccini (1911–1990), post office worker from Pàvana , and Ester Prandi (1914–2009, from Carpi ) on June 14, 1940 in Modena , four days after Italy entered the Second World War . His father was drafted, after which his mother and Francesco moved to live with their grandparents in Pàvana in the northern Apennines .

Guccini processed his childhood experiences in Pàvana several times in his works: not least in his first novel Cròniche epafàniche, but also in many songs in which he describes life in the mountains. Later, a strong bond with his family and the places of his childhood, which is particularly clearly described in the song Radici , played a major role in his poetry and formed a recurring theme in his texts and songs, for example in Amerigo , which is the story of poverty and exclusion told by an emigrated great-uncle. After the end of the war in 1945, Francesco lived again with his mother in Modena and his father also came back from captivity and was able to resume his work.

Youth (1950–1958)

View of Modena (2018)

In Modena (the city described Guccini in the song Piccola città ) Guccini spent his youth, a time that he later processed in his novel Vacca d'un cane . It was at this time that he also started playing the guitar . After compulsory school he attended the social science high school “ Carlo Sigonio ”, which he graduated in 1958. He perceived the post-war reality of the city as a contrast to life in the mountains in a relatively negative way, which was also reflected in later texts. For Guccini's cultural and musical development, however, this period was very significant: the basis for his songs about society and everyday life was created, as well as the stories and self-doubts that are reflected in the song Samantha in the description as "puppeteer with words". Further references to Modena can be found in Cencio ( Quello che non , 1990), where Guccini describes a short friend.

First steps in music (1959–1966)

Guccini gained his first work experience as a teacher and as a journalist . The employment as a private teacher in Pesaro in 1959 ended prematurely with dismissal. He then worked successfully as a reporter for the Gazzetta di Modena newspaper for two years, but suffered from poor pay and excessive working hours. He preferred to deal with cases from the judiciary ; What is noteworthy, however, is an interview by Guccini with Domenico Modugno , who had just won the Festival di Sanremo for two years in a row , in April 1960, which gave the budding musician the impetus to try himself as a cantautore. His first song under this impression was L'antisociale . At the same time, he began studying educational science , which he never completed.

Guccini began his experience as a singer and guitarist with a group specializing in dance halls . The group included Pier Farri (Guccini's later producer) as drummer and Victor Sogliani as saxophonist and guitarist Franco Fini Storchi. The group was formed in 1958 and was renamed first as Hurricanes , then Snakes and finally Gatti after with the group Marinos of Alfio Cantarella had joined forces. With the Snakes , Guccini wrote his first songs, Bimba guarda come (il ciel sa di pianto) , Roy Teddy Boy , Ancora , Viola come gli occhi di Angelica , rock 'n' roll based on Peppino di Capri and the Everly Brothers , which established the group’s repertoire. For two years the group was able to book numerous engagements and play all over Northern Italy, also a few abroad: Guccini accompanied Nunzio Gallo , the winner of the Sanremo Festival in 1957, as guitarist in Switzerland (there together with Claudio Villa ).

View of Bologna (1968)

In 1961 the Guccini family moved to Bologna and Francesco began studying linguistics at the University of Bologna . In July 1962, Guccini began his military service , which he did in Lecce , Rome and Trieste . He later recalled this time of “sweet idleness” (una pacchia) as a generally positive experience. He had already written a few songs before, including La ballata degli annegati and Venerdì santo . During Guccini's absence, his group I Gatti merged with Giovani Leoni by Maurizio Vandelli (later founder of Equipe 84 ); Guccini did not join them later in order to concentrate on his studies, which he broke off shortly before his diploma (in 2002 he was awarded an honorary doctorate in educational sciences). From 1965 (until 1985) Guccini taught Italian every September at a branch of the American Dickinson College in Bologna, which earned him the nickname "professore".

Bob Dylan (1963)

His preoccupation with the Turin artist group Cantacronache around Fausto Amodei , Sergio Liberovici and Michele Straniero, which was active between 1958 and 1962 and was extremely important for Italian music, was decisive for his musical development . He turned to beat music and also discovered the folk Bob Dylans . Under these impressions he wrote songs like Auschwitz (full title: La canzone del bambino nel vento [Auschwitz] ), È dall'amore che nasce l'uomo (made successfully by Equipe 84, who had already recorded Guccini's L'antisociale in January 1966 ), and Noi non ci saremo , interpreted by the Nomadi . Guccini himself played with both the Nomadi and Equipe 84.

The first albums (1967–1971)

In 1967, the record label CGD Guccini suggested submitting the song Una storia d'amore for the Sanremo Festival of that year . As performers were Caterina Caselli and Gigliola Cinquetti provided, but the song did not make it into the competition. According to Roberto Vecchioni (who himself worked as a songwriter for CGD at the time), the Guccini label pushed for collaboration with songwriters Daniele Pace and Mario Panzeri , successful hit authors, which Cantautore felt as an imposition and led him to make similar arrangements for the future excluded. The two singers recorded the song anyway: Gigliola Cinquetti in the album La rosa nera and Caterina Caselli in Diamoci del tu .

In March 1967 Guccini released his first own album Folk beat n.1 on the label La voce del padrone (later EMI ) . This sold very poorly, but already had some typical elements of his style, with simply arranged songs characterized by painful topics such as death, suicide , the lower social class , the Holocaust and war (in one case he tried an Italian talking blues , which he later took up again in the album Opera Buffa ). The album also contained the songs Noi non ci saremo , L'antisociale and Auschwitz , already made famous by Nomadi and Equipe 84 ; The latter was published again in English in 1967 by Equipe 84 as the B-side of their single 29th September in the United Kingdom and by American musician Rod MacDonald in 1994 on the album Man on the Ledge .

Still in 1967, Guccini wrote the song In morte di SF , which was deposited with the collecting society Siae under the title Canzone per un'amica and published in 1968 by the Nomadi. He also wrote Italian lyrics on behalf of his record company for the English-language folk songs Hey Joe ( Jimi Hendrix ) and Mrs. Robinson ( Simon & Garfunkel ), which were recorded in 1967 and 1968 by other artists, including Bobby Solo . On May 1, 1967, on the occasion of the release of his album, Caterina Caselli invited Guccini to the television program Diamoci del tu , which she presented with Giorgio Gaber : On this very first television appearance, Guccini sang Auschwitz. At that time Guccini wrote many other songs for Caselli, including Le biciclette bianche , Incubo nº 4 (from the soundtrack of the musical comedy L'immensità [La ragazza del Paip's] ), Una storia d'amore and Cima Vallona (in which he made the stop on the Porzescharte processed). One of the later best-known songs from Guccini's pen also came from 1967, again interpreted by the Nomadi: Dio è morto (with slightly different text, it was also sung by Caselli). The text, which, based on the Nietzsche aphorism “God is dead” and inspired by Allen Ginsberg's poem Howl, deals with the loss of moral anchor points of entire generations, was played by Vatican Radio and is even said to praise Pope Paul VI. while the state broadcaster RAI boycotted it for alleged blasphemy .

The following year Guccini returned to the recording studio and released the single Un altro giorno è andato / Il bello : the A-side was included in an acoustic version and with slightly modified text in 1970 in the album L'isola non trovata ; the B-side, however, ended up in a live version in Opera Buffa , after the song had also been interpreted by Lando Buzzanca . Meanwhile, Guccini continued to work as a songwriter for Nomadi, Bobby Solo, Caterina Caselli and other performers. In 1968 he gave his first concert as a soloist at the Centro Culturale La Cittadella of the Pro Civitate Christiana in Assisi , a progressive Catholic cultural center. He also worked with Guido De Maria for the TV commercials Carosello from 1967 to 1968 , where he wrote a series about the cartoon character Salomone pirata pacioccone (for the Fabbri company in 1905 ). He also wrote the children's song of the same name about this character, sung by Le Sorelle , and made the cartoonist Bonvi known to a wide audience through Carosello ; he later recalled this creative phase in the song Eskimo .

The album Due anni dopo was released in 1970 (the recordings were made in autumn 1969) and was characterized by fearful existentialist themes, only Primavera di Praga (about the Prague Spring ) took up a political theme; the lyrics were compared with the poetry of Giacomo Leopardi and showed an artist who was still young but who had matured compared to the previous album. The narrative center of the album, noticeably influenced by French, encompasses the passage of time and everyday life in an environment of bourgeois hypocrisy. With this album, Guccini began an almost ten-year collaboration with the American folk singer Deborah Kooperman , who contributed guitar play with fingerpicking on several albums , which was an innovation for Italian music.

Shortly after the publication of Due anni dopo , Guccini left his girlfriend at the time, Roberta Baccilieri (to whom the song Vedi cara was dedicated), and traveled to the United States with Eloise Vitelli, whom he had met at Dickinson College in Bologna while he was teaching there. After the short relationship ended, he returned to Italy; from then on his beard became his trademark. The trip to America was also a great disappointment for Guccini overall (he described the experience itself as totalmente negativa , "thoroughly negative") and, in conjunction with increasing criticism of the USA in Italian society, especially as a reaction to the Vietnam War , to a strong change in the “America myth”, which was initially transfigured in the Cantautore's work. This disillusionment was particularly evident in the song 100, Pennsylvania Ave., dedicated to Roberta Vitelli. (1976) and later in Canzone per Silvia (1993) and in the novel Cittanòva blues (2003).

Back of the LP Stanze di vita quotidiana
Link to the picture

(Please note copyrights )

Back in Italy, Guccini was reconciled with Roberta Baccilieri and went on vacation with her to Santorini . On this occasion the photo was taken, which was used on the back of the album Stanze di vita quotidiana , on the cover of Via Paolo Fabbri 43 and on many concert posters. In the autumn he started work on a new album again, and L'isola non trovata was released eleven months after Due anni dopo . The title refers to the poet Guido Gozzano , and JD Salinger is quoted in the song La collina in the album . Other significant titles on the album were Un altro giorno è andato (re-released two years later), L'uomo and L'orizzonte di KD (based on Karen Donne, Eloise Vitelli's sister). Guccini was now known outside of Bologna and was able to play in theaters instead of in small bars. At that time he took part in the television program Speciale tre milioni , during which he performed some songs (including La tua libertà , which was recorded in 1971 but was only released as a bonus track on the album Ritratti in 2004) and befriended Claudio Baglioni . In 1971 he married Roberta Baccilieri.

Success (1972–1980)

Guccini's great artistic success finally came in 1972 with the album Radici , which contains some of his most famous songs; in particular La locomotiva , a song based on a true story about an anarchist-motivated attack on a train, in which he addresses equality, social justice and freedom, taking up the musical style of anarchist songwriters of the late 19th century. The common thread that runs through the whole album is, as the title suggests, the eternal search for one's own roots, which is also made clear by the album cover, on which the grandparents and great-uncle and-aunt of Guccini against the background of the old house in the mountains (including Enrico, about whom Guccini later told in Amerigo ). Critics described the album as contemplative and dream-like: Incontro , Piccola Città , Il vecchio e il bambino , La Canzone della bambina portoghese or Canzone dei dodici mesi are considered to be the most important songs at this artistic climax of the Cantautore. In the same year he placed a young musician colleague with his record company, whose first songs had impressed him: It was Claudio Lolli , with whom he later worked twice himself (in the songs Keaton and Ballando con una sconosciuta ).

The next album, Opera buffa , was released as early as 1973, most of which was recorded live in Bologna and Rome, and is characterized by a student body and a light-heartedness. In it Guccini proved himself to be cabaret , ironic and theatrical, cultivated and mocking. With this type of songs Guccini could never really get used to, which is why he viewed the release of the album and the song I fichi (contained in D'amore di morte e di altre sciocchezze ) rather doubtful. Nevertheless, the album is an important document of Guccini's way of performing at concerts through the live recordings. He developed a typical form of cabaret in which the protagonist of the play is in constant dialogue and also in confrontation with the audience; the cabaret influence can also be felt in numerous songs, such as L'avvelenata , Addio , Cirano or Il sociale e l'antisociale .

Stanze di vita quotidiana followed the next year , a controversial and elusive album that received a very mixed reception from audiences and critics. It contained six long, melancholy and heartbreaking songs, the result of the profound crisis that Guccini went through at that time, made even more difficult by constant differences of opinion with his producer Pier Farri, and in some cases received relentless reviews: the critic Riccardo Bertoncelli was particularly harsh , who wrote the Cantautore dismissed without blinking an eyelid as a "finished artist who has nothing more to say". Guccini responded to this accusation a few years later with the song L'avvelenata . It was not until many years later that the album found artistic recognition. In the course of this, the song Canzone per Piero was included in the text selection for the Italian examination of the state final examination in 2004. The theme of the essay was friendship, and Guccini was honored to be mentioned in the same breath as Dante and Raffael . The lyrics accesses the dialogue between Plotinus and Porphyry back of the operetta morali of Giacomo Leopardi appears. The rest of the album is also shaped by Leopardian vocabulary and everyday topics.

Via Paolo Fabbri 43 in Bologna

Guccini's commercial breakthrough came in 1976 with the album Via Paolo Fabbri 43 , which was one of the best-selling of that year. The singing became more mature, confident and self-confident, and the overall musical structure of the record was more complex than that of its predecessors. In response to the reviews of his last album, especially from Bertoncelli, the aforementioned L'avvelenata was created , in which Guccini is angry and lively and addresses his critics directly. Later, however, he was more reluctant to perform live with this song, as he viewed it too much as a concession to the audience and as out of date in terms of content. Another important song on the album is the title track Via Paolo Fabbri 43, in which Guccini describes his life in Bologna in an abstract form , using references to authors such as Borges and Barthes and the "three heroines of the Italian song" Alice , Marinella and Lilly (from the songs of De Gregori , De André and Venditti ) giving the honor; According to his own statements, Guccini is particularly attached to this song, alongside L'avvelenata and Il pensionato . Strongly lyrical moments can be found in the existentialist poetics of Canzone quasi d'Amore, which is seen as an example of the high points of the poet Guccini. He demonstrated his qualities as a petty singer in Il pensionato , a ballad about an old neighbor, which casually ends in an excursus about the sad psychological situation of many old people.

On October 6, 1977, the weekly magazine Grand Hotel Guccini dedicated a cover story: Il padre che tutti i giovanissimi avrebbero voluto avere (“The father that all young people would have liked”). The Cantautore himself did not know anything about the background of the article, he had been interviewed by an employee without specifying the target medium. Guccini was not very enthusiastic and expressed his incomprehension about the assumption that a young generation of school leavers might be interested in his content, which he conceived for a significantly older audience. Because of the article, he was also ridiculed at a concert that it had ended up in a “women's magazine”, which he jokingly dismissed as insignificant.

In the same year he separated from his wife Roberta and then lived with his new partner Angela. In 1978 their daughter Teresa was born, to whom he later dedicated the songs Culodritto and E un giorno . In addition, the next album Amerigo appeared with the well-known song Eskimo , which thematized the separation from Roberta. For Guccini himself, the eponymous song was the highlight of the album, a ballad about an uncle close to him who emigrated to America . In it, the Cantautore processed his own experiences with the USA again by contrasting the positive, utopian image of America of his childhood with the real experiences of his uncle.

At the end of the 1970s, Guccini recorded the live album Concerto with the Nomadi in 1979 . He not only sang in two voices with Augusto Daolio , but also published for the first time some songs that had previously only been released by other interpreters: Noi , Per fare un uomo and especially Dio è morto . 1979 Guccini also took part on June 14th in 1979 Il concerto - Omaggio a Demetrio Stratos , a tribute concert for the recently deceased Demetrio Stratos ; Guccini sang the Per un amico dedicated to Stratos (a new version of In morte di SF from 1967).

Metropolises, travels and portraits (1981–1989)

Guccini began the 80s with the album Metropolis , to which, according to later statements, he has the slightest connection together with Stanze di vita quotidiana . The basic narrative motif is the description of various cities with a certain symbolic value: Byzantium , Venice , Bologna and Milan . The history of the cities and especially the hardships of life in the polis result in a playful web of historical events and symbolic references. The theme of the trip reappears as a reflection on the impossibility and senselessness of travel, which, according to Guccini, would never actually get to know foreign places. Guccini took over a song from the Assemblea Musicale Teatrale , written by Gian Piero Alloisio , with small text changes in the album, Venezia . Outstanding is the song Bisanzio , a complex composition that the critic Jachia describes as "moving and dreamy".

Byzantion (Bisanzio) is described by Guccini as a fascinating but frightening way of the cross on the border between two continents and two ages, sometimes in apocalyptic tones. The protagonist, a certain Filemazio (whom many identify with Guccini himself), senses the decline of his culture, parallel to Western civilization, and the approaching end. The song is set in the time of Emperor Justinian I (483-565), with various historical references to the epoch, which Guccini himself often explained; The inspiration for the song was, among other things, the secret story of Prokopios of Caesarea . Other notable songs on the album are Venezia and the ballad Bologna . In the same year, Guccini, together with Giorgio Gaber , Sandro Luporini and Gian Piero Alloisio, wrote the play Gli ultimi viaggi di Gulliver , staged by Alloisio with Ombretta Colli . Still in 1981 he wrote the song Parole , which Alloisio released on the album Dovevo fare del cinema (the album also contained the title song of the play Gulliver , which Guccini later recorded on Guccini ). After an acquaintance at Club Tenco, Guccini also referred the up-and-coming duo Gemelle Nete to Renzo Arbore .

The following album (Guccini) dealt with subjects similar to the previous one, particularly travel and urban troubles (found in Gulliver and Argentina ). Autogrill made it into a classic in Guccini's repertoire , a song about a love that was too cautious. Popular has also been shomer ma mi llailah? (“Watch, is the night still long?”) With reference to the Bible ( Isa. 21:11  EU ). The song Inutile tells of a day in March that a couple spends in Rimini . On the tour following the album, Guccini appeared for the first time with a full band: Until then, he had performed alone or accompanied by one or two guitarists (initially with Koopermann, then with Biondini and later with Villotti and Biondini). In 1984 the next live album Fra la via Emilia e il West followed, which contains a selection of his successes, most of which were recorded at a concert in Piazza Maggiore in Bologna, with Guccini in addition to his band also by guests such as Giorgio Gaber and Paolo Conte , Lucio Dalla , whom Nomadi, Roberto Vecchioni and Equipe 84 accompanied.

In 1987 he released the album Signora Bovary , on which the individual songs function as portraits of various people from Guccini's life. Van Loon refers to his father, Culodritto to his daughter Teresa, Signora Bovary is Guccini herself. The song Keaton was written by a friend of mine , Claudio Lolli , in collaboration with Guccini. The album marked a change of direction for Guccini, especially in terms of composition. The music is sophisticated, with complex melodies and arrangements. The song Scirocco, which has won several prizes, stands out; it tells about an event in the life of the poet Adriano Spatola , called Baudelaire (a friend of Guccini whom he had already quoted in Bologna ), and his separation from Giulia Niccolai. In 1988 Guccini released another live album with rearranged songs from the 60s and the unreleased Ti ricordi quei giorni . The title is a reference to the novel Twenty Years After and is Quasi come Dumas ("Almost like Dumas "). The album was recorded in Milan, Pordenone and Prague . In the same year he wrote the song Emila with Lucio Dalla , which found its way into the album Dalla / Morandi and was sung by Guccini, Dalla and Gianni Morandi . With slight changes, Guccini recorded it again for his album Quello che non… (1990).

Rejection, love and doubt (1990–1999)

Quello che non… (1990) was an album under the sign of poetic continuity with its predecessor, in which Guccini interprets a collection of songs, among which Quello che non and La canzone delle domande consuete stand out; the latter received, as confirmation of its great poetic and literary value, the Targa Tenco for best song of the year. Three years later (1993) Parnassius Guccinii (the title refers to the butterfly subspecies Parnassius mnemosyne guccinii , which was named after the Cantautore), with the songs Samantha , the story of a love that has failed due to social conventions, and Farewell , a reminder of Bob Dylan Ballad: In it, Guccini quotes Dylan's Farewell Angelina with the line of text The triangle tingles, and the trumpet plays slow and the instrumental intro; at the same time, the title of the Dylan song refers to Guccini's partner Angela, from whom he had already separated again. This is where Guccini's merit shows that he opened the Italian lyric tradition for Dylan's ballad. The album also contained the song Canzone per Silvia , dedicated to the civil rights activist Silvia Baraldini imprisoned in the USA , as well as Acque , Guccini's second commissioned work after Nenè (1977), requested by Tiziano Sclavi for the film Nero .

Another three years later (1996) it was the turn of the album D'amore di morte e di altre sciocchezze , which reached the top of the Italian album charts for the first time. Lettera, a song dedicated to two deceased friends and companions ( Bonvi and Victor Sogliani ), is of particular lyrical intensity . Particularly successful was Cirano (actually composed by Giancarlo Bigazzi and text by Beppe Dati , but reworked by Guccini), which freely used the verse opera Cyrano de Bergerac and, according to Guccini, shows "foolish seriousness". The student I fichi should also be emphasized (presented for the first time on television 20 years earlier at Onda libera on Rai 2 with Roberto Benigni ); Vorrei , dedicated to his new friend Raffaella Zuccari; Quattro stracci , again a reappraisal of the end of his relationship with Angela, but significantly more negative than Farewell ; as well as passage , about man's feeling of powerlessness and tinyness before the wonders of the night sky. In 1997 the Italian astronomers Luciano Tesi and Gabriele Cattani named the asteroid (39748) Guccini after the Cantautore. In 1998 Guccini's record company, EMI Italiana, released a series of live albums by its most important artists, including the Guccini Live Collection , on the occasion of its 30th anniversary . The Cantautore agreed to this, but had no influence on the selection and equipment and later complained about a gross grammatical error that had made it onto the album cover of the first release.

Personalities and Stories (2000-2010)

Guccini at a concert in Marino in March 2003.
From left: Flaco Biondini (guitar), Roberto Manuzzi (keyboard), Francesco Guccini, Ellade Bandini (drums), Vince Tempera (keyboard), Ares Tavolazzi (bass) and Antonio Marangolo (saxophone ).

The Cantautore ushered in the new millennium with the album Stagioni , on which he thematizes the different phases of time that go through the passing of the years. Among the included songs were Autunno , Ho ancora la forza (written together with Ligabue ), Don Chisciotte (sings during which Guccini a duet with his guitarist, as the embodiment of the figure of Miguel de Cervantes ) and Addio , which as a new Avvelenata was called , but with echoes of maturity and general validity of the statements. Also Stagioni and the following tour was a great success; The great popularity of the young audience was rather unexpected, which finally made Guccini an artist for three generations. The vinyl edition of the album was a limited special edition. The next album was Ritratti (2004), on which many songs contained imaginary dialogues with historical figures such as Odysseus , Christopher Columbus and Che Guevara ; Odysseus opens the album and is considered by some to be one of Guccini's best texts.

The album also includes Piazza Alimonda, a song dedicated to Carlo Giuliani , the young demonstrator who was killed in 2001 during the protests against the G8 summit in Genoa . La tua libertà dates back to 1971 and was first published here; it is reminiscent of the atmosphere of L'isola non trovata , while the ballad Vite had already been sung in a shortened version by Adriano Celentano . Ritratti received good reviews and immediately topped the album charts when it was released. In 2005 the live album Anfiteatro Live followed , which had been recorded the year before at a concert in the Anfiteatro di Cagliari . It comprised two CDs and a DVD documenting the entire concert. In 2006, the election as President of the Italian Republic caused a sensation, as Guccini, among others, received a vote. To mark his 40-year career, he released a three-CD compilation with 47 songs under the title The Platinum Collection . On April 3 of that year, Guccini published the song Nella giungla on EMI France , which dealt with the kidnapping of Ingrid Betancourt ; the original text was by Renaud Séchan from 2005, the music by Jan Pierre Bucolo. In 2006 he was still working with the Compagnia Teatrale Pavanese , who performed Plautus ' Aulularia , the text of which Guccini had translated from Latin into the local dialect. On March 30, 2007 in Catanzaro he received the Riccio d'Argento award as part of the Fatti di musica award under the direction of Ruggero Pegna, dedicated to the greatest songwriters in Italy; was released in October with Portavo allora un Eskimo innocente of Massimo Cotto at Giunti the first official biography of the singer-songwriter. On tour, Guccini presented Su in collina, a new song about Resistance , which would find its way into the already planned album L'ultima Thule .

Guccini (2009)

For the new album he also wrote a song about Pàvana (Canzone di Notte n. 4) and Il testamento di un pagliaccio, a song about the last will of a dying clown . He played the latter during the 2008/2009 tour, for the first time on June 20 in Porretta Terme. On 21 April 2008 reported La Stampa , that Guccini with the smoking stopped and greatly increased as a result of weight and inspiration lost. However, he denied these claims on May 18, 2008, on Che tempo che fa TV show .

In March 2010 Mondadori published Non so che viso avesse , an autobiography by Guccini, which also contains a critical afterword by Alberto Bertoni. In the album Arrivederci, mostro! This year the musician dedicated the song Caro il mio Francesco by Luciano Ligabue to his colleague Guccini . In the text Ligabue criticizes areas of the music scene that are characterized by snobbery and contradictions. On September 28, 2010, a new compilation by Cantautore, Storia di altre storie , was released, with songs selected by himself and an accompanying commentary by Riccardo Bertoncelli. For the album Chocabeck by Zucchero , Guccini contributed the lyrics for the song Un soffio caldo . In 2010 the botanist Davide Donati named a newly discovered plant species after Guccini: the Mexican cactus species Corynopuntia guccinii . According to himself, Donati had just heard Incontro from Guccini while doing research in Mexico in 2008 when he discovered the plant.

Later projects (since 2011)

On April 21, 2011, Guccini married Raffaella Zuccari in Mondolfo , with whom he had been together for 15 years. In 2012 he returned to the recording studio and sang the dialectal parts of the lyrics of Gerardo nuvola 'e povere on Enzo Avitabiles Black Tarantella , which deals with the work accident of a southern Italian who emigrated to Emilia. The song was awarded the Premio Amnesty Italia for its special commitment to conscience and human rights. In June the Cantautore participated together with Zucchero, the Nomadi, Laura Pausini , Luciano Ligabue, Cesare Cremonini , Nek and the Modena City Ramblers in the benefit concert Concerto per l'Emilia , which took place in Bologna at the Stadio Renato Dall'Ara and the proceeds from it the population affected by the earthquake went. This is Guccini's last live performance.

Guccini (2015)

After a long period of work, the album L'ultima Thule was finally released in November 2012 . It sold well again and was awarded double platinum at the end of 2013 for over 120,000 copies sold. Despite the great success, Guccini subsequently declared that he would end his music career and neither give concerts nor publish new albums. The DVD La mia Thule followed in 2013 , which documents the creation of the last album. In 2015 Guccini made a short guest appearance as a singer in the song Le storie che non conosci by Samuele Bersani and Pacifico , the proceeds of which went to the Fondazione Lia , which organizes reading workshops for visually impaired children in Bologna . In the same year, the Club dedicated the entire Tenco Prize to Guccini . The compilation Se io avessi previsto tutto questo was released on November 27th . La strada, gli amici, le canzoni. The deluxe edition includes five CDs, the super deluxe edition even ten CDs and a book.

Two years later, in November 2017, the live double album L'ostaria delle dame was released , which contains the recordings of three concerts by Guccini in the Osteria delle Dame in Bologna from the 80s. The deluxe edition includes six CDs and a book. 2018 Cantautore took along with Roberto Vecchioni the Alex Zanardi dedication song Ti insegnerò a volar for Vecchionis album L'infinito on. In November 2019, however, the compilation Note di viaggio - Capitolo 1: venite avanti… was released , the first part of a joint project with Mauro Pagani : on it, well-known Italian musicians reinterpret songs by Guccini. The Cantautore himself can be heard with the new song Natale a Pavana .

style

Texts

Guccini (2006)

Guccini's songs are characterized by their ostensibly literary character, often in synthesis with folk and popular cultural elements, and their enormous variety of topics. Guccini's poetic style is inspired and widely recognized by both Italian tradition ( Dante , Folgóre , Carducci , D'Annunzio and the poets of crepuscolarismo ) and popular storytellers.

Guccini's texts are always written in bound language and are mostly metrically very complex. The stylistic devices and metric forms that he uses are diverse and are used inconsistently throughout the work. The choice of a particular verse form or song structure (such as the extremely rare case of a repeated refrain) is often based on the content of the song. Guccini often varies rhyme forms and structure, but internal rhymes and assonances are strikingly common . His rhetorical stylistic devices include comparisons , antitheses , metaphors , anaphors , alliterations , enumerations , synaesthesias and rhetorical questions . In the unusual sentence structure, inversions and chiasms are noticeable, even these mostly justified in terms of content. Guccini usually plays with different language levels , alternating between literary-poetic and everyday language. Through his often original choice of words, he succeeds in “poeticizing everyday prosaic language”. Dialect influences are remarkably rare, dialect words are only used functionally and are often adapted to the standard language; isolated songs in the Modenese dialect occupy a special position in the overall work. Overall, Guccini's language is predominantly unrhetorical, pathos-free and intimistic (prominent exceptions to this, however, are songs such as La locomotiva or Il vecchio e il bambino [both 1972]).

Three types of songs can be distinguished in Guccini's work: mainly narrative and reflexive songs (sometimes overlapping), plus descriptive “portraits”. The narrative songs are presented as “micro-narratives in verse form” and are usually at least five, often up to eight minutes long. Probably Guccini's best known song, La locomotiva , can be assigned to this type. The song has an epic-cinematic narrative style with strong rhetoric, supported by anaphors, comparisons and metaphors and a sophisticated metrical structure. In the reflective songs Guccini thematizes thoughts, memories and descriptions and pursues existential questions in a very personal way, mostly starting from the everyday, whereby external impressions merge into internal reflections. In doing so, he often raises universal questions of meaning, but without giving answers or solutions. A typical example is the song Lettera (1996), in which he deals in letter form with doubts about transience, time, life and death, based on descriptions of his environment. In contrast to the two main types of songs, Guccini's “portraits” focus on a single person, city or landscape, without completely dispensing with narrative elements or existential thoughts. The portrait subject is typically characterized indirectly, through distant observations, and avoids linear descriptions. Often the description is intensified by nominal style . Guccini preferred to portray simple people, often social outsiders; but figures from literature and history such as Don Quixote , Che Guevara or Odysseus also find their place.

music

In Guccini's songs, as is not unusual in the Cantautori, the music is in the background compared to the lyrics and is for the most part not very original. Under the influence of the Cantacronache , the rock elements of his earliest songs gave way to a melodic monotony typical of ballads from folk music. Singing became so superficially a recitation of the text, which also came first in terms of genetics - Guccini himself emphasized that in his creative process the music always comes after the text. Like his international role models Leonard Cohen and Bob Dylan , the Cantautore only attached more importance to the musical element on later albums and gradually switched to more sophisticated compositions and arrangements.

Appearance by Guccini with Vince Tempera (2009)

Based on the beat music of the 1960s, the style of which gave way to increasingly longer compositions without a refrain and with a piano that was more dominant than the guitar , thanks to the participation of experienced studio musicians such as Vince Tempera and Ares Tavolazzi , Guccini's first four albums were still classic representatives of Italian folk music. Rock . After that the complexity of the music increased, the arrangements became denser and sometimes moved far away from the folk stereotypes of the beginning; in Metropolis (1981), for example, saxophone and guitar, bass and drums, pipes, clarinets and flutes meet. In Signora Bovary (1987) also the more complex melodies and fall Tango conditions influencing the fate. The musical quality of Guccini's albums remained heterogeneous in later years and was reflected not least in a relatively small number of really memorable songs.

Appearances

Guccini's concerts were usually very interactive events in which the cantautore not only performed his songs, but also gave short monologues, commented on current social developments and sought contact with the audience. It was noticeable that he almost never improvised his songs when performing, in contrast to many of his music colleagues. Compared to the studio version, however, the songs gained expressiveness due to the highly personalized interpretation on the stage. While Guccini valued live performances and direct communication with audiences, he always avoided appearing on television as best he could .

Guccini and politics

Guccini's closeness to the Italian left was well known and often criticized in the press. Indeed, some of his songs are socially committed, but mostly his success and recognition go back to the high artistic and literary value of his songs. Guccini is difficult to fit into a conventional political spectrum ; he saw himself (like his friend Fabrizio De André ) as an anarchist , but also as a liberal socialist , and stated that he had previously chosen the PRI and PSI ; he supported the socialists even after Bettino Craxi's rise , and then switched to the PDS and DS . He made his political views public on many occasions, mostly directed against the moderate center-left wing. In autumn 2011, on the occasion of the mayoral elections in Porretta Terme , Guccini spoke out in favor of the SEL- supported independent candidate, whereupon he was assigned to the political movement of Nichi Vendola , even though he declared in 2014 that he had elected PD . At the same time, the Cantautore was often cited as a favorite singer by both center-right politicians and Matteo Renzi , from which Guccini distanced himself.

Political statements are particularly clear in the following songs: La locomotiva , a historical report about an anarchist, Primavera di Praga from 1969, a criticism of the Soviet occupation of Czechoslovakia during the Prague Spring , Piccola storia ignobile from 1976, in which he is called Abortion advocates showed Nostra signora dell'ipocrisia from 1993, Canzone per Silvia from 1993, Don Chisciotte and Stagioni from 2000, Canzone per il Che from 2004 (dedicated to Che Guevara ), Piazza Alimonda from 2004 (about the incidents at the G8 summit in Genoa 2001 ), Il testamento di un pagliaccio and Su in collina from 2012 (dedicated to the resistance ).

Guccini as a writer

Guccini was active as a writer for almost 20 years; Together with other authors he worked on factual texts and fiction on a wide variety of topics, such as civil rights (about the Silvia Baraldini case ), but also on comics . He tried his hand at various genres, including detective novels and a trilogy with autobiographical content in which he proves himself to be an etymologist , historiolinguist and lexicographer . His prose texts represent an essential addition to his song work and are characterized by the constant involvement of his own roots.

Books

Majolica signed by Guccini and Loriano Macchiavelli in 1997 on the wall of Alassio

Cròniche epafàniche , published in 1989 by Feltrinelli , is Guccini's first novel and one of his most successful works. Although not ostensibly intended as a biography, it tells in an autobiographical way about life in Pàvana, the symbolic village of Cantautore's childhood. In the text, Guccini tries to mythify his memories and to convey in an exciting way all the stories that were given to him by the long-time residents of the mountains. His “ philological accuracy” was well received by critics.

His two subsequent novels, Vacca d'un cane and Cittanova blues , became bestsellers and built on other phases of Guccini's life. While Cròniche epafàniche takes up childhood in Pàvana, Vacca d'un cane is about the next section, Guccini's youth in the unloved hometown of Modena. Here he developed a new self-confidence, but also realized that the provincial town destroyed by the war would limit his intellectual development. Therefore he soon moved to Bologna, for him the fulfillment of his dreams of discovery. This chapter flowed into the third novel Cittanòva Blues , which concluded the autobiographical trilogy. In 1998 Guccini published the dialect dictionary Dizionario del dialetto di Pàvana , in which he proved himself to be a dialect researcher and translator.

With Loriano Macchiavelli , Guccini created the figure of Maresciallo Benedetto Santovito, who appears in several works: Macaronì (1997), Un disco dei Platters (1998), Lo spirito e altri briganti (2002; collection of stories) and Tango e gli altri (2007 ). The crime novels and stories deal with the experiences of Santovito and follow the classic crime tradition in narrative style and subjects. Guccini's influence can be felt when it comes to historical embedding and linguistic subtleties. The "cross-epoch depiction of the zeitgeist" is remarkable. From 2011 Macchiavelli and Guccini published another crime series.

comics

Guccini at the comic festival in Lucca 2016

Guccini has always been very interested in comics, as can be seen from some of the lyrics, and was responsible as an author for various comic albums, such as Vita e morte del brigante Bobini detto "Gnicche" (drawn by Francesco Rubino), Lo sconosciuto (drawn by Magnus) ; He also developed the comic series Storie dello spazio profondo , which his friend Bonvi drew and which appeared in the magazine Psyco from 1969 (later reissued by Mondadori and other publishers).

In the book he published with Rubino, Guccini tells the true story of a brigand named Gnicche, who came from the area of Arezzo and Casentino . The story takes place in the second half of the 19th century. The author assigns a farmer, Giovanni Fantoni, the role of the storyteller, who tells the story of the brigands in verse and often in dialect. Draftsman Rubino based his style on Gianni De Luca and gave a figure Guccini's appearance. The volume appeared in December 1980 on Lato Side with a cover picture of Lele Luzzati , but has not been reprinted since.

Guccini and the movie

In films, Guccini has worked both as an actor and as a composer . His first experience as an actor was in Bologna. Fantasia, ma non troppo, per violino by Gianfranco Mingozzi 1976, an episode of the television series Raccontare la città , in which he plays the poet and singer Giulio Cesare Croce , who has observed the development of the city of Bologna over the centuries, mostly accompanied by original texts Croces based songs. Other actors were Claudio Cassinelli and Piera Degli Esposti , who played historical figures.

As an actor he also appeared in I giorni cantati (1979, directed by Paolo Pietrangeli ), whose soundtrack included Guccini's songs Eskimo and Canzone di notte n.2 ; also in Musica per vecchi animali (1989, directed by Umberto Angelucci and Stefano Benni ); Radiofreccia (1998, directorial debut by Luciano Ligabue ); Ormai è fatta! (1999, directed by Enzo Monteleone ); and Ti amo in tutte le lingue del mondo (2005), Una moglie bellissima (2007) and Io & Marilyn (2009), all directed by Leonardo Pieraccioni . In 2013 he was featured in the documentary Alta Via dei Parchi. Viaggio a piedi in Emilia-Romagna interviewed by Enrico Brizzi in his home in Pàvana.

The soundtrack for Nero (1992, directed by Giancarlo Soldi ) includes Guccini's song Acque , while he composed the entire soundtrack for Nenè (1977, directed by Salvatore Samperi ).

reception

meaning

Guccini is one of the most important Italian cantautori. Together with fellow musicians such as Fabrizio De André , Francesco De Gregori , Lucio Dalla , Roberto Vecchioni and Paolo Conte , he played a decisive role in the establishment of the genre of the “author's song” (canzone d'autore) within Italian popular music .

Guccini's importance is based, among other things, on the fact that he knows how to document the zeitgeist and current events in his songs, thus capturing the sensitivities of a generation and the atmosphere of an era. The song Dio è morto, for example, is a significant historical document of the state of the youth in the 1960s and at the same time a universal view of society. Auschwitz (1968) represented one of the first occupations with the Holocaust in an Italian song, a topic that was being discussed anew in Italy at that time. However, Guccini's reception was partially distorted by the overvaluation of political rhetoric in a few of his songs; However, his political and social engagement always remained of subordinate importance in his work, just as fundamentally political protest songs are to be placed outside the Italian author's song (compare genres of Italian popular music ). Compared to some of his fellow musicians, Guccini was noticeably seldom criticized for his reluctance in this regard; reactions to his album Stanze di vita quotidiana (1974) were the clearest .

The American myth, a defining theme within the Italian author's song, is permanently present at Guccini: One example of his work is how the initially glorified image of the USA turned radically into negative in the course of the 1960s, combined with increasing criticism of consumer society , imperialism and human rights violations . The regular reception of other “mythical” subjects in the author's song can also be found in Guccini's work (albeit only selectively), both in the treatment of ancient subjects ( Odyssey ) and in his important contributions to the contemporary myth of Che Guevara . Last but not least, the highly personalized approach of the Cantautori to the well-known song subject love can be observed in Guccini's songs. His love poetry is mostly characterized by his typical skepticism and avoids (with very few exceptions) a direct and immediate theming of love, which is expressed in the self-designation canzoni quasi d'amore , "almost love songs".

Guccini's particular aesthetic and ideological continuity and uncompromising attitude over the course of his entire career is unique. He made a name for himself as a relatively fatalistic observer of life, with songs about existential fears, always with an eye for the local and provincial. Since the mid-1970s, his album releases were also consistently commercially successful (in the later years three of Guccini's albums reached the top of the Italian charts), but his unbroken public popularity was largely based on his popular concerts. In terms of its cross-generational cultural significance, its perception as a lonely and incorruptible moral authority and figure of identification also plays a role that cannot be neglected. Many of his songs have gone down in the cultural memory of Italy.

In addition to his song production, Guccini's versatility as a cultural mediator between different literary genres was also widely recognized. As part of the award of an honorary doctorate by the University of Bologna , his passion for the search for linguistic expression, in which nothing is left to chance, was highlighted. Supplemented by his book publications, Guccini ostensibly takes on the role of a talented storyteller. In doing so, he contributes to a personal culture of remembrance and a refinement of the narrative culture. The otherwise comparatively rare double role as musician and writer reinforces his singular status within the Italian Cantautori. Both his songs and his prose works have received several literary prizes.

Awards (selection)

  • By the Club Tenco Guccini received the following prizes:
    • 1975 - Tenco Prize for Career
    • 1987 - Targa Tenco for the song Scirocco (with Juan Carlos Biondini )
    • 1990 - Targa Tenco for the song Canzone delle domande consuete
    • 1994 - Targa Tenco for the album Parnassius Guccinii
    • 2000 - Targa Tenco for the song Ho ancora la forza (with Ligabue )
    • 2015 - Targa Tenco for the song Le storie che non conosci ( Samuele Bersani and Pacifico with Guccini)
  • 1992 - Premio Librex Montale , Poetry for Music category , for Canzone delle domande consuete
  • 1997 - Premio Alassio Centolibri - Un Autore per l'Europa for the book Macaronì. Romanzo di santi e delinquenti (with Loriano Macchiavelli )
  • 2004 - Targa Ferré for the poetry of his songs
  • 2005 - Premio Giuseppe Giacosa - Parole per la musica for the combination of music and words
  • 2007 - Riccio d'argento , Category Best Live Album Cantautore
  • 2007 - Premio Scerbanenco for the book Tango e gli altri. Romanzo di una raffica, anzi tre (with Loriano Macchiavelli)
  • 2008 - Literature Prize Ceppo Cultura del Verde
  • 2008 - Premio Arturo Loria for the book Icaro
  • 2010 - Premio Chiara , Le Parole della Musica category
  • 2013 - Premio Amnesty Italia (with Enzo Avitabile )

Honors

Discography

Studio albums

year title Top ranking, total weeks, awardChartsChart placements
(Year, title, rankings, weeks, awards, notes) 		Remarks
IT IT
1967 Folk beat n.1 -
La voce del padrone
1970 Due anni dopo -
Columbia / EMI
L'isola non trovata -
Columbia / EMI
1972 Radici IT23 (3 weeks)
IT
Columbia / EMI
1974 Stanze di vita quotidiana IT15 (16 weeks)
IT
Columbia / EMI
1976 Via Paolo Fabbri 43 IT2 (41 weeks)
IT
Columbia / EMI
1978 Amerigo IT4 (17 weeks)
IT
EMI
1981 Metropolis IT4 (18 weeks)
IT
EMI
1983 Guccini IT4 (18 weeks)
IT
EMI
1987 Signora Bovary IT4 (16 weeks)
IT
EMI
1990 Quello che non ... IT3 (12 weeks)
IT
EMI
1994 Parnassius Guccinii IT3 (13 weeks)
IT
EMI
1996 D'amore di morte e di altre sciocchezze IT1 (18 weeks)
IT
EMI
2000 Stagioni IT1 (18 weeks)
IT
EMI
2004 Ritratti IT1 (18 weeks)
IT
EMI
2012 L'ultima Thule IT3
Double platinum
× 2
Double platinum

(30 weeks)IT
EMI
sales: + 120,000

Live albums

year title Top ranking, total weeks, awardChartsChart placements
(Year, title, rankings, weeks, awards, notes) 		Remarks
IT IT
1973 Opera buffa IT23 (3 weeks)
IT
Columbia / EMI
1980 Album concerto IT18 (15 weeks)
IT
EMI
Francesco Guccini & Nomadi
1984 Fra la via Emilia e il west IT15 (8 weeks)
IT
EMI
1988 ... quasi come Dumas ... IT22 (2 weeks)
IT
EMI
1998 Guccini Live Collection IT3
gold
gold

(39 weeks)IT
EMI
Sales: + 25,000; IT 2014 gold
2005 Anfiteatro live IT5 (17 weeks)
IT
EMI
2017 L'ostaria delle dame IT12 (8 weeks)
IT
Universal

In 2001, Francesco Guccini Live @ RTSI was released exclusively for Radiotelevisione Svizzera .

Compilations

year title Top ranking, total weeks, awardChartsChart placements
(Year, title, rankings, weeks, awards, notes) 		Remarks
IT IT
2006 The Platinum Collection IT15th
gold
gold

(20 weeks)IT
EMI
Sales: + 25,000; IT 2015 gold
2010 Storia di altre storie IT7th
gold
gold

(21 weeks)IT
EMI
sales: + 30,000
2015 Se io avessi previsto tutto questo IT5
platinum
platinum

(26 weeks)IT
Universal
sales: + 50,000
2019 Note di viaggio - Capitolo 1: Venite avanti ... IT3 (10 weeks)
IT
Universal

Songs

Placements in the single charts

year Title
album 		Top ranking, total weeks, awardChartsChart placements
(Year, title, album , rankings, weeks, awards, notes) 		Remarks
IT IT
2012 L'ultima volta
L'ultima Thule 		IT59 (2 weeks)
IT
2015 Le storie che non conosci IT86 (1 week)
IT
Samuele Bersani & Pacifico feat. Francesco Guccini

More singles and songs

  • Un altro giorno è andato / Il bello (1968)
  • Lui e lei / Due anni dopo (1970)
  • L'avvelenata (1976) -Gold (2018)Gold (2018)
  • Nenè / Tema di Ju (1977)
  • Vedi cara (1970) -Gold (2019)Gold (2019)
  • L'Italia di Francesco Guccini (1981)
  • Samantha (1993)
  • Lettera (1996)
  • Cirano (1996)
  • Stagioni / Inverno '60 (2000)
  • Addio / E un giorno ... (2000)
  • Una canzone (2004)
  • Nella Giungla (2006)

Filmography

actor

  • 1976: Fantasia, ma non troppo, per violino - Director: Gianfranco Mingozzi
  • 1979: I giorni cantati - Director: Paolo Pietrangeli
  • 1979: Amerigo - Nascita di una canzone (documentary) - Director: Pier Farri
  • 1987: Le lunghe ombre - Director: Gianfranco Mingozzi
  • 1989: Musica per vecchi animali - directed by Stefano Benni , Umberto Angelucci
  • 1998: Radiofreccia - Director: Luciano Ligabue
  • 1999: Ormai è fatta! - Directed by Enzo Monteleone
  • 2005: Ti amo in tutte le lingue del mondo - Director: Leonardo Pieraccioni
  • 2006: Ignazio - Director: Paolo Pietrangeli
  • 2006: Dove la bellezza non si annoia mai - directed by Francesco Conversano , Nene Grignaffini
  • 2006: Sessantotto - L'utopia della realtà (documentary) - directed by Ferdinando Vicentini Orgnani
  • 2007: Una moglie bellissima - Director: Leonardo Pieraccioni
  • 2009: Io & Marilyn - Director: Leonardo Pieraccioni
  • 2012: Il risveglio del fiume segreto (documentary) - directed by Alessandro Scillitani
  • 2013: La mia Thule (documentary) - directed by Francesco Conversano, Nene Grignaffini
  • 2015: La linea gialla - Director: Francesco Conversano, Nene Grignaffini

composer

bibliography

With Loriano Macchiavelli

more books

literature

German-language literature

  • Angela Barwig: Francesco Guccini and the development of the Italian author's song. Lit, Berlin 2008, ISBN 978-3-8258-1759-6 .

Italian-language literature

  • Vincenzo Mollica (Ed.): Francesco Guccini. Lato side, Milan 1981.
  • Massimo Bernardini: Guccini. F. Muzzio, Padua 1987, ISBN 88-7021-429-X .
  • Anna Caterina Bellati (Ed.): Francesco Guccini. Dietro a frasi di canzoni. C. Lombardi, Milan 1993, ISBN 88-7799-033-3 .
  • Massimo Cotto: Un altro giorno è andato: Francesco Guccini si racconta a Massimo Cotto. Giunti, 1999, ISBN 88-09-21704-7 .
  • Catherine Danielopol: Francesco Guccini. Burattinaio di parole. Clueb, Bologna 2001, ISBN 88-491-1646-2 .
  • Paolo Jachia: Francesco Guccini. 40 anni di storie, romanzi, canzoni. Editori Riuniti, Rome 2002, ISBN 88-359-5306-5 .
  • Roberto Festi / Odoardo Semellini (ed.): Francesco Guccini: stagioni di vita quotidiana. Comune, Carpi 2003.
  • Andrea Sanfilippo: Francesco Guccini. Storie di vita quotidiana. Un'autobiografia poetica. Bastogi, Foggia 2004, ISBN 88-8185-632-8 .
  • Silvano Bonaiuti with Maria Rosa Prandi: Scusi, è questo il mulino dei Guccini? L'arcobaleno, Porretta Terme 2007, ISBN 978-88-903017-0-4 .
  • Massimo Cotto: “Portavo allora un eskimo innocente”. Francesco Guccini si racconta a Massimo Cotto. Giunti, 2007, ISBN 978-88-09-05578-0 .
  • Gian Carlo Padula: Dio non è morto. L'altro volto di Francesco Guccini. Bastogi, Foggia 2007, ISBN 978-88-8185-972-6 .
  • Brunetto Salvarani / Odoardo Semellini: Di questa cosa che chiami vita. Il mondo di Francesco Guccini. Il Margine, Trient 2007, ISBN 978-88-6089-018-4 .
  • Annalisa Corradi: Francesco Guccini. Le cose più belle. [Ritagli di parole, ricordi, immagini e provocazioni]. Aliberti, Reggio Emilia 2008, ISBN 978-88-7424-139-2 .
  • Gemma Nocera: Le parole di Francesco Guccini. Romanzi, poetry, storie e ballate nelle canzoni di un poeta cantautore. G. Zedde, Turin 2009, ISBN 978-88-88849-40-9 .
  • Gianluca Veltri: Francesco Guccini. Fiero del mio sognare. Arcana, Rome 2010, ISBN 978-88-6231-116-8 .

Web links

Commons : Francesco Guccini  - collection of images, videos and audio files

supporting documents

  1. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 11 : “Allora si nasceva in casa. Io in via Domenico Cucchiari 22. Modena. È il 14 giugno 1940. "
  2. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 11 : "Mia madre Ester Prandi, da Carpi, siccome cominciavano a essere razionati i generi alimentari, si trasferì a Pàvana, nella casa dei nonni paterni."
  3. ↑ a b Linda Altomonte: Intervista a Francesco Guccini. Associazione Spazio Interiore e Ambiente, December 5, 2007, accessed February 19, 2017 (Italian).
  4. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 79 : "In 1972 mi venne l'idea di scrivere una canzone che parlasse di radici, di appartenenza a qualcosa oa qualcuno"
  5. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 101 : “Mi affascinava da semper l'idea di una canzone su Enrico, il mio prozio emigrato in America. C'è un confronto continuo tra la sua America - emarginata, di fatica, di sconfitte - e la mia - fatta di miti e immaginazioni, di viaggi di fantasia. "
  6. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 20 : “A un certo punto, dicevo, tornammo a Modena. Non fu un grande ritorno, per me… A Modena era diverso e lo sarebbe semper stato… "
  7. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 80 : “Modena è per me l'esilio da Pàvana e l'attesa di Bologna. Modena è 'mia nemica strana', la mia adolescenza, il periodo forse più tragico della mia vita perché nell'immediato dopoguerra le aspettative e le speranze erano tante e leibilità di realizzarle quasi nulle. "
  8. ↑ Francesco Guccini, biography. (No longer available online.) Concerto Management, archived from the original on January 9, 2014 ; Retrieved February 19, 2017 (Italian).
  9. ↑ Festivities dei diplomati. La “Festa del diploma” 2007. (No longer available online.) Istituto Magistrale Statale “Carlo Sigonio”, archived from the original on April 25, 2012 ; Retrieved February 19, 2017 .
  10. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 24 : "Andavo alla stessa scuola di Pavarotti, solo che, quando lui era in quarta, io frequentavo la prima"
  11. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Roma 2002, p. 94/206 .
  12. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 132 : "Una sera, riguardando quella photo in cui siamo fintamente assorti a guardare le bocce, mi venne voglia di scrivere una canzone, provando a pensare come pensava lui, alla sua voglia di sesso o, più semplicemente, di normalità."
  13. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 26 : “Nel frattempo trovai un lavoro come istitutore in un collegio di Pesaro. Era l'autunno 1959… Mi licenziarono dopo un mese e mezzo. "
  14. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 26 : “Entravo in redazione alle tre del pomeriggio e rimanevo fino alle tre di notte, tornando a casa solo per la cena. Non c'erano fixed domenicali e l'unico permesso era per l'ultimo giorno dell'anno ... "
  15. ^ A b Francesco Guccini: Non so che viso avesse. Mondadori, 2010, pp. 71-74.
  16. ↑ Gigi Vesigna: La gavetta dei VIP? In: Oggi . June 12, 2013, p. 94-98 .
  17. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 40 : “Mi diedi alla musica… 'Voglio fare l'orchestrale.' E so fu. "
  18. ^ Massimo Bernardini (ed.): Guccini. Franco Muzio Editore, Padua 1987, p. 11.
  19. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 40–41 : “La band si chiamava, con somma originalità, Marinos… Dissi agli altri musicisti 'Ragazzi, Marinos fa schifo'… Ci voleva un nome giovane, brilliant. Gatti non ci sembrava male… In quell'estate 1961 suonammo per due mesi all terme di Sassuolo… D'inverno un bell'ingaggio allo Chalet del lago di San Vito di Cadore… Quell'inverno andammo a suonare perfino in Svizzera. "
  20. ^ Cesare Rizzi / Fulvio Beretta: Enciclopedia del rock italiano . Arcana, 1993, ISBN 88-7966-022-5 , pp. 75 : "La sigla cambia da Hurricanes a Snakes e diventa I Gatti quando i tre si uniscono ai Marinos di Alfio Cantarella."
  21. ↑ a b c Massimo Bernardini (ed.): Guccini. Franco Muzio Editore, Padua 1987, p. 12.
  22. ^ Francesco Guccini: Non so che viso avesse. Mondadori, 2010, pp. 66-67.
  23. ↑ Dario Borlandelli: “Metti una sera a Pavana…” - Intervista a Francesco Guccini e Loriano Macchiavelli. (No longer available online.) In: FrancescoGuccini.net. January 13, 2012, archived from the original on September 24, 2015 ; Retrieved February 19, 2017 (Italian).
  24. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 46 : "tutto andò per il meglio ... era una pacchia"
  25. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 51 : L'antisociale non era l'unica canzone che avevo scritto e tenuto (perché molte le buttavo, un po 'per pudore un po' per vergogna) prima di partire militare. C'erano, tra le tante, anche Vecchio gasometro , Se lungo i giorni , La ballata degli annegati e Venerdì santo . Canzoni un po 'diverse dai fugaci esperimenti degli esordi. Rimanevano comunque tentativi.
  26. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 62 : "Era Pier Farri: 'Tra poco Victor va militare. Se vuoi entrare nel gruppo, ti aspettiamo a braccia aperte. ' Ci pensai qualche giorno, poi dissi di no. "
  27. ↑ a b c d Laurea ad honorem a Francesco Guccini. In: Alma News. University of Bologna, 2002, accessed February 19, 2017 (Italian).
  28. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 57 : “Rizzardi, docente di Inglese… Dopo l'esame mi chiamò da parte: 'Un mio vecchio students è diventato rettore di un college americano che sta per aprire una sede a Bologna. Si chiamerà Dickinson. Mi hanno offerto una cattedra '… Fu so che iniziai la mia carriera di insegnante al Dickinson, ruolo che sarebbe stato mio per vent'anni, dal 1965 al 1985, also se solo per un mese l'anno: settembre. "
  29. ^ Emiliano Liuzzi: Francesco Guccini: “Ecco perché non nasce una nuova leva di cantautori”. In: IlFattoQuotidiano.it . November 14, 2012, accessed June 1, 2020 (Italian).
  30. ^ Carlo Pestelli: An Escape from Escapism. The Short History of Cantacronache . In: Franco Fabbri, Goffredo Plastino (ed.): Made in Italy. Studies in Popular Music . Routledge, London 2016, ISBN 978-1-138-21342-5 , pp. 153 .
  31. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 51 : "Importante fu il Cantacronache di Fausto Amodei, Sergio Liberovici e Michele Straniero, che mi introdusse nel mondo delle canzoni popolari e anarchiche."
  32. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 59 : "Per invogliarmi e darmi qualche punto di riferimento, un giorno mi regalarono una copia di Freewheelin ' , secondo album di un per me ancora sconosciuto menestrello americano di nome Bob Dylan."
  33. ^ Folk Beat N. 1. In: Discografia Nazionale della Canzone Italiana. Retrieved February 19, 2017 (Italian).
  34. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 59 : "nel novembre 1964 scrissi tre pezzi: Auschwitz , È dall'amore che nasce l'uomo e Noi non ci saremo ."
  35. ↑ TV report La mia vita. Francesco Guccini si racconta a Rai 3 : "Così iniziò la mia vita musicale."
  36. ↑ Article by Carlo Giovetti. In: Big , No. 52/1966, p. 17.
  37. ↑ Michelangelo Romano: Roberto Vecchioni: Canzoni e spartiti . Lato Side, Roma 1979, pp. 17 .
  38. ↑ Massimo Cotto: Portavo allora un eskimo innocente . Giunti, Florence 2007, p. 94 .
  39. ↑ Federico Betti: Review: Francesco Guccini - Folk Beat n. 1. In: Storiadellamusica.it. Retrieved February 19, 2017 .
  40. ^ Auschwitz (Canzone del bambino nel vento). In: Antiwarsongs.org. Retrieved February 19, 2017 .
  41. ↑ Man on the Ledge - Auschwitz. Rod MacDonald, accessed February 19, 2017 .
  42. ↑ Gigi Vesigna: La sinfonia dei Nomadi. In: Storiaradiotv.it. Retrieved February 19, 2017 .
  43. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 351-352 .
  44. ^ Diamoci del tu (March-April 1967). In: GiorgioGaber.org. Retrieved February 19, 2017 .
  45. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 62 : “decise di incidere alcuni miei brani, oltre che di commissionarmene altri. Le biciclette bianche e Incubo n.4 furono composte a quattro mani: lei la musica, io li testo; Cima Vallona … Caterina avrebbe poi inciso anche due versioni di Per fare un uomo e Dio è morto … "
  46. ^ Dio è morto. Giuseppe Cirigliano, accessed February 19, 2017 .
  47. ^ Lucia Maritato: Dio è morto, il testo di Guccini che tanto fece discutere. In: Eroica Fenice. September 25, 2018, accessed May 25, 2020 (Italian).
  48. ↑ Ezio Guaitamacchi: 1000 canzoni che ci hanno cambiato la vita . Rizzoli, Milan 2009, ISBN 978-88-17-03392-3 , pp. 915 .
  49. ↑ Lando Buzzanca - Il Bello. In: Discogs. Retrieved February 19, 2017 .
  50. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 69 : "Nel dicembre 1968 suonai alla Cittadella d'Assisi ..."
  51. ↑ Il Pirata Pacioccone e Manodifata a Roma. In: Conference Dizionario delle cose perdute. La playlist del nostro passato. Fondazione Musica per Roma, March 10, 2012.
  52. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 56 : "io segnalai Bonvi, che si trasferì so a Bologna"
  53. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Rome 2002, p. 91-94 .
  54. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Rome 2002, p. 76-77 .
  55. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Rome 2002, p. 116-117 / 135 .
  56. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 69 : "chiamai con me Deborah Kooperman, amica americana studentessa a Bologna che mi insegnò molti segreti della chitarra e del folk."
  57. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 59 : "il fingerpicking , un maledetto arpeggio che avrei decifrato compiutamente soltanto nel 1969 grazie a Deborah Kooperman, meraviglioso personaggio sbarcato a Bologna da New York con una borsa di studio e un bagaglio di conoscenze straordinario."
  58. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 70 : "Nel gennaio 1970 partii per gli Stati Uniti"
  59. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 72 : “Di quei tempi mi resta la barba. Non l'ho più fatta, da allora. Forse ho paura di vedere che cosa c'è sotto e più di me ha paura mia figlia. Per evitarle shock, resterò so per semper, nascondendole le mie vere fattezze. "
  60. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 360-361 .
  61. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 89 : "Curiosamente, la mia foto sulla copertina di Via Paolo Fabbri 43 è la stessa, solo più sgranata, che era stata precedentemente inserita sul retro di Stanze : uno scatto preso da mia moglie a Santorini, in Grecia, nel 1971."
  62. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 74 : “Il Gozzano de 'La più bella' è alla base de 'L'isola non trovata'; il Salinger del 'Giovane Holden' ha influenzato non poco "La Collina". "
  63. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 72 : “scrissi L'orizzonte di KD , dove KD sono le initiali di Karen Dunn, sorella di Eloise. Karen, in realtà, non c'entrava nulla. Per pudore o per orgoglio non volli indirizzare la canzone a Eloise, o meglio la indirizzai a lei fingendo di parlare a un'altra. "
  64. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 77 : “In 1971 partecipai anche a una trasmissione televisiva. si chiamava Speciale Tre Milioni ... "
  65. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 77 : "Tra i molti cantanti presenti, strinsi amicizia in particolare con Claudio Baglioni, molto simpatico e gran barzellettiere e burlaiolo."
  66. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 79 : "Roberta, che nel frattempo era diventata mia moglie, con sommo gaudio dei miei genitori."
  67. ↑ Article Il disastro di ieri alla ferrovia - l'aberrazione di un macchinista. In: Il Resto del Carlino , July 21, 1893.
  68. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 57 : “Penso alla 'fiaccola dell'anarchia', immagine che non userei mai nel linguaggio di tutti i giorni, ea La locomotiva tutta: essendo una canzoneitta cercando di imitare i vecchi autori anarchici, dov gramm necessariamente possedere diù d'Or retorica. "
  69. ↑ a b Emmanuele Margiotta: Francesco Guccini. Ritratto di un cantastorie. In: Ondarock.it. Claudio Fabretti, accessed February 19, 2017 .
  70. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 79 : “La copertina fu una grande idea, almeno credo. Si tratta della photo dei miei bisnonni, con dietro mio nonno, mio ​​prozio con le due sorelle. "
  71. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 102 : “E tra i nomi compare ancora Guccini Enrico di Francesco. Amerigo. "
  72. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Rome 2002, p. 62-68 .
  73. ↑ Claudio Lolli, biografia. In: Rockol.it. Retrieved February 19, 2017 .
  74. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Roma 2002, p. 12/19 .
  75. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 84/85 : “Fu un disco inventato e da me non voluto… Non mi convincono, e nemmeno allora mi convincevano, gli arrangiamenti. Ma la colpa è in buona parte anche mia, perché, sebbene io compaia ufficialmente nelle vesti di arrangiatore lasciai tutto in mano a Pier Farri. […] Quando Renzo Fantini mi suggerì di mettere 'I fichi', io nicchiai. Avevo ed ho tuttora qualche dubbio "
  76. ^ Leon Ravasi: Il grande vecchio: Guccini in concerto a Milano. In: Bielle.org. February 3, 2004, accessed February 19, 2017 .
  77. ↑ Francesco Guccini al Paladozza. (No longer available online.) In: Postfiera.org. December 3, 2008, archived from the original on February 20, 2017 ; Retrieved February 19, 2017 .
  78. ↑ Federica Pegorin: Francesco Guccini. Cantore di vita . Effata Editrice, 2006, ISBN 978-88-7402-184-0 , p. 145 .
  79. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 85 : "Pier Farri, inoltre, cominciava a non andarmi più tanto bene e con Stanze di vita quotidiana raggiunse il punto più basso"
  80. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 63 : “Riccardo Bertoncelli, che, nella recensione di Stanze di vita quotidiana aveva scritto che ormai ero entrato nella routine di un disco l'anno e che non avevo più niente da dire e che, dunque, se continuavo a fare canzoni era solo per fare soldi. "
  81. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 63 : "Contro di lui scrissi L'avvelenata , con la strofa incriminata ..."
  82. ↑ Esami di Stato in 2003-2004. In: Educazione & Scuola. Retrieved February 19, 2017 .
  83. ↑ Daniela Camboni: "Mi sento imbarazzato e insieme contento. Ma cosa c'entro con Cicerone e Raffaello? » (No longer available online.) Atuttascuola, archived from the original on April 10, 2010 ; Retrieved on February 19, 2017 (article from Corriere della Sera of June 17, 2004).
  84. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Rome 2002, p. 94 .
  85. ↑ Guido Racca: M&D Top 100 Year-End: Singoli & Album 1960-2018 . Self-published, 2019, ISBN 978-1-980329-12-1 , pp. 177 .
  86. ↑ Federica Pegorin: Francesco Guccini. Cantore di vita . Effata Editrice, 2006, ISBN 978-88-7402-184-0 , p. 146-147 .
  87. ^ Matteo Sommariva: Guccini: tra fiasco e chitarra. In: Mentelocale.it. April 1, 2005, accessed February 19, 2017 .
  88. ^ Mario Luzzato Fegiz: May più un'Avvelenata, è tempo di gialli . In: Corriere della Sera . April 2, 1998, p. 37 ( corriere.it ( memento of November 12, 2012 in the Internet Archive ) [accessed on February 19, 2017]).
  89. ↑ Francesco Guccini Stregato dal talent show di Rai 2 "X Factor Salvera la musica". (No longer available online.) In: Il Tempo. Il Sole 24 Ore , January 19, 2009, archived from the original on February 26, 2009 ; Retrieved February 19, 2017 .
  90. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 94 : Via Paolo Fabbri 43 è ricca di citazioni della mia vita quotidiana… Poi, c'è Borges che mi ha promesso di parlare direttamente col persiano (Omar Al Khayyam)… ebbene sì, lo confesso, sono stato il primo cantante a citare Roland Barthes in un brano ...
  91. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 95–96 : “In Via Paolo Fabbri ci sono tre eroine della canzone italiana: due evidenti ('Alice e Marinella'), una più nascosta ('la piccola infelice' cioè Lilly). Frecciatine rivolte a De Gregori, De André, Venditti. Mi sembrava avessero accettato più facilmente di me anche gli aspetti negativi di questo mestiere. Io ho impiegato più tempo. Infatti 'i miei eroi eran poveri e si chiedevano troppi perché'. "
  92. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 97 : "Rimango legato anche ad altre canzoni del disco ... 'Il pensionato', dove metto in atto uno dei miei vizi preferiti: osservare, confrontare per trovare differenze e similitudini."
  93. ↑ Federica Pegorin: Francesco Guccini. Cantore di vita . Effata Editrice, 2006, ISBN 978-88-7402-184-0 , p. 51 .
  94. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Rome 2002, p. 85 .
  95. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 97 : “pareva quasi vivesse un presente assurdo, fatto di passato (antiche cortesie e vecchi odori, riti quotidiani e lampadine fioche, minestre riscaldate e tic-tac di sveglia che enfatizzava ogni secondo) e di futuro (la paura del domani, il presentimento che di lui sarebbe rimasta 'soltanto un'impressione che ricorderemo appena'). "
  96. ↑ Claudio Bernieri: Non sparate sul cantautore vol. 2º . Edizioni Mazzotta, Milan 1978, p. 10 .
  97. ↑ Claudio Bernieri: Non sparate sul cantautore vol. 2º . Edizioni Mazzotta, Milan 1978, p. 69 .
  98. ↑ Claudio Bernieri: Non sparate sul cantautore vol. 2º . Edizioni Mazzotta, Milan 1978, p. 6-7 .
  99. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 124 : "Mi piace ricordare anche Culodritto , che è dedicata a mia figlia Teresa"
  100. ^ Biografia di Francesco Guccini. In: ViaFabbri43.net. Retrieved February 19, 2017 .
  101. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 101 : "La canzone che dà il titolo all'album è la più bella, completa, finita, ricca di cose e forse una delle più belle che io abbia mai scritto."
  102. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 356-358 .
  103. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 107 : Album Concerto , il live realizzato con i Nomadi. A disco dal vivo con i ragazzi di Novellara with sembrava una buona cosa.
  104. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 87 : "Stanze di vita quotidiana è il disco che più ho odiato nella mia vita"
  105. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 110 : "Lo intitolai METROPOLIS perché parlava di città, ma non di città qualunque: Bisanzio, Venezia, Bologna, Milano, ovvero centri e metropoli con una storia e un'alta valenza simbolica."
  106. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 110–115 : "Lo intitolai METROPOLIS perché parlava di città, ma non di città qualunque: Bisanzio, Venezia, Bologna, Milano, ovvero centri e metropoli con una storia e un'alta valenza simbolica… storie metropolitane di ordinaria desolazione"
  107. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 114 : "In METROPOLIS c'è anche una canzone non mia, Venezia , scritta da Gian Piero Alloisio su musica del bassista della loro assemblea, Bigi ... Presi il testo, lo adattai modificandolo leggermente ..."
  108. ↑ a b Paolo Jachia: La canzone d'autore italiana 1958-1997 . Feltrinelli, 1998, ISBN 88-07-81471-4 , pp. 117-118 .
  109. ^ Maria Luisa Putti: Francesco Guccini… e le parole sognate. In: Omero.it. February 4, 2001, Retrieved February 19, 2017 (Italian).
  110. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 112 : "Siamo noi umani che gli attribuiamo dei colori, il mare non sa di esistere, il mare semplicemente è."
  111. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 112 : "Per certi passaggi di Bisanzio mi ispirai anche a Procopio di Cesarea, che aveva scritto Storia segreta , un feroce libello di denuncia dei vizi di corte ..."
  112. ↑ Andrea Pedrinelli (Ed.): Giorgio Gaber - Gli anni '80. Radio Fandango / Rai Trade, Rome 2008, p. 121.
  113. ↑ Giampiero Alloisio. In: Bielle.org. Retrieved February 19, 2017 .
  114. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 119 : "Nacque a Pàvana ed è il resoconto di ciò che non fu mai, ovvero un sogno mai avverato"
  115. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 121 : "Un verso di Isaia ... è alla base della canzone omonima."
  116. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 119 : "creammo anche per i concerti una band fissa che, con poche ma significative eccezioni, mi accompagna ancora oggi."
  117. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 123 : “Il 1984 è l'anno del grande concerto in Piazza Maggiore. Vent'anni dopo Auschwitz . Arrivarono in tanti, dai Nomadi a Paolo Conte, da Giorgio Gaber a Deborah Kooperman. "
  118. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 123 : "In tutti noi c'è una signora Bovary, che non è madame Bovary, perché non siamo all'altezza."
  119. ↑ Felice Liperi: Storia della Canzone italiana. Rai-Eri, 1999, p. 309.
  120. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 117 : “Il mio amico Baudelaire, so chiamato perché scriveva poetry ed era più visionario di Sartre, dopo che in Bologna , l'avrei inserito also in Scirocco … è lui il protagonista, quello lasciato dalla ragazza perché è sposato e non se la sente di separarsi ... "
  121. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 124 : “Perché le buone canzoni difficilmente invecchiano, ma gli arrangiamenti sì. So, a volte, è bene ripulirli e rimetterci le mani. "
  122. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 124 : “Siccome le canzoni erano quasi tutte provenienti da Due anni dopo e siccome erano trascorsi vent'anni da quel mio secondo disco, pensai che avrei potuto intitolarlo Vent'anni dopo . Poi, optai per Quasi come Dumas… , in omaggio al romanzo Vent'anni dopo , pubblicato dal grande scrittore francese nel 1845. "
  123. ↑ Federica Pegorin: Francesco Guccini. Cantore di vita . Effata Editrice, 2006, ISBN 978-88-7402-184-0 , p. 150 .
  124. ↑ a b c d e f Albo d'Oro. Targa Tenco alla canzone. Club Tenco, accessed May 25, 2020 .
  125. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 136 : "Mi piaceva l'idea di due ragazzi che si sfiorano e poi subito si perdono e anche gli inusuali accostamenti di parole."
  126. ↑ Francesco Guccini: Oh tu, vecchio Bob Dylan. In: Maggie's Farm. Retrieved February 19, 2017 .
  127. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 135 : "il titolo echeggia Farewell Angelina , la canzone scritta da Bob Dylan per Joan Baez, con tanto di citazione interna: 'The triangle tingles / and the trumpet plays slow'."
  128. ↑ Paolo Jachia: La canzone d'autore italiana 1958-1997 . Feltrinelli, 1998, ISBN 88-07-81471-4 , pp. 154 .
  129. ^ Nero. Full cast & credits. In: IMDb. Retrieved February 19, 2017 .
  130. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 138 : "Il brano d'apertura, Lettera , è dedicato a Bonvi e Victor Sogliani."
  131. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 140 : "cambiai perciò molte cose, attualizzandola e personalizzandola, insomma."
  132. ↑ Paolo Jachia: La canzone d'autore italiana 1958-1997 . Feltrinelli, 1998, ISBN 88-07-81471-4 , pp. 120-123 .
  133. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 140 : Stelle , canzone d'amore diciamo più universale, dove amore fa rima con stupore, è nata in una di quelle notti in cui resto incantato a guardar il cielo ea domandarmi, banalmente finché si vuole ma in modo del tutto spontaneo e naturale, che cosa ci facciamo noi qui, piccoli piccoli e in fondo al mondo, quando lassù ci sono tali meraviglie.
  134. ↑ (39748) Guccini. In: JPL Small-Body Database Browser. California Institute of Technology / NASA, accessed February 19, 2017 .
  135. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 140 : “Non ho seguito tutte le fasi della lavorazione, ho semplicemente dato il mio assenso alla Emi affinché lo pubblicasse. La prova che io non c'entro è data da quel terribile errore ortografico in copertina: nel titolo 'Un altro giorno è andato', 'un altro' è scritto con l'apostrofo. Mi sono indignato assai. Tutto, dalla grafica alla copertina alla scelta delle canzoni, è stato fatto con il mio assenso, ma senza di me. "
  136. ↑ a b c d Donal Cantonetti: Francesco Guccini. Ritratto di un cantastorie. In: Ondarock.it. Retrieved on February 19, 2017 (interview from the weekly Avvenire ).
  137. ↑ Guccini si prende subito la vetta della hit parade . In: La Repubblica . March 1, 2004 ( repubblica.it [accessed February 19, 2017]).
  138. ↑ Francsco Guccini - Anfiteatro live. (No longer available online.) In: Musicaitaliana.com. Archived from the original on January 25, 2009 ; Retrieved February 19, 2017 .
  139. ↑ Alessandra Vitali: Nello spoglio gli intrusi e gli inaspettati anche Guccini e la moglie di D'Alema. In: Repubblica.it. May 8, 2006, accessed February 19, 2017 .
  140. ^ The Platinum Collection (2006). In: ViaFabbri43.net. Retrieved February 19, 2017 .
  141. ↑ Article Vero Plauto firmato Guccini , in: Il Resto del Carlino , December 6, 2006.
  142. ↑ Comunicato Stampa: Tributo a Francesco Guccini a Catanzaro. In: Rockol.it. March 29, 2007. Retrieved February 19, 2017 .
  143. ^ Il cantautore in concerto al palazzo dello sport di Padova. In: Corrieredelveneto.it. Corriere della Sera, January 20, 2010, accessed February 19, 2017 .
  144. ↑ Rispieghiamo Guccini per chi era assente. (No longer available online.) In: Geocities.com. Archived from the original on October 27, 2009 ; Retrieved on February 19, 2017 (interview with Federico Vacalebre in Il Mattino , March 14, 2007).
  145. ↑ Marco Zatterin: Guccini: il mio genio andato in fumo. (No longer available online.) In: LaStampa.it. April 21, 2008, archived from the original on May 18, 2014 ; Retrieved February 19, 2017 .
  146. ↑ Franco Giubilei: Guccini: ho scritto un'autobiografia perché il cerchio si chiude. (No longer available online.) In: LaStampa.it. February 6, 2010, archived from the original on May 18, 2014 ; Retrieved February 19, 2017 .
  147. ↑ Article in Piante Grasse 30 (4), 2010.
  148. ^ Emiliano Liuzzi: Guccini sposo silenzioso. Come in una sua canzone. In: IlFattoQuotidiano.it. April 21, 2011, accessed February 19, 2017 (Italian).
  149. ↑ a b La consegna del Premio Amnesty Italia a Guccini. Associazione Culturale Voci per la Libertà, July 25, 2013, accessed February 19, 2017 (Italian).
  150. ^ Davide Turrini: Guccini, Ligabue, Pausini, Nomadi e forse Vasco. Il 25 giugno un concerto per terremotati. In: IlFattoQuotidiano.it. June 2, 2012, accessed February 19, 2017 (Italian).
  151. ↑ a b c d e f g h Certificazioni. FIMI , accessed June 3, 2020 (Italian).
  152. ↑ Marinella Venegoni: Guccini: mai più dischi né concerti (Ma “L'ultima Thule” è bellissimo). In: LaStampa.it. November 29, 2012, accessed February 19, 2017 (Italian).
  153. ↑ Piero D'Ottavio: Samuele Bersani: “Così ho convinto Guccini a cantare con me 'Le storie che non conosci'”. In: Repubblica.it. May 29, 2015, accessed February 19, 2017 (Italian).
  154. ↑ a b Il “Tenco 2015” dedicato a Francesco Guccini. (No longer available online.) In: Premiotenco.it. Club Tenco, July 8, 2015, archived from the original on August 13, 2018 ; Retrieved February 19, 2017 (Italian).
  155. ↑ Arianna Galati: Francesco Guccini, Se io avessi previsto tutto questo - Gli amici, la strada, le canzoni: l'opera omnia in 4 (o 10) cd. In: Soundsblog.it. November 30, 2015, accessed May 24, 2020 (Italian).
  156. ↑ Esce 'L'Ostaria delle Dame', il nuovo album di Francesco Guccini. Adnkronos , November 2, 2017, accessed May 25, 2020 (Italian).
  157. ↑ Massimo Longoni: Roberto Vecchioni, 12 storie per raccontare lʼ “Infinito”: “Ecco lʼessenza della vita”. In: TGcom24. November 7, 2018, accessed May 25, 2020 (Italian).
  158. ↑ Chiara Colasanti: "Note di viaggio - capitolo 1: venite avanti ...": chi canta Francesco Guccini? In: VanityFair.it. November 14, 2019, accessed May 24, 2020 (Italian).
  159. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 101 .
  160. ↑ a b Dicono di Guccini… Umberto Eco. (No longer available online.) Francesco Dafano (Rai), archived from the original on April 25, 2012 ; Retrieved February 19, 2017 .
  161. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 144 .
  162. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 142-147 .
  163. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 150-158 .
  164. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 115-125 .
  165. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 126-133 .
  166. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 133 .
  167. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 148-149 .
  168. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 134 .
  169. ↑ a b Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 102-103 .
  170. ↑ a b c d e Mariano Prunes: Francesco Guccini, Biography & History. In: Allmusic . Retrieved May 27, 2020 (English).
  171. ↑ Paolo Jachia: Francesco Guccini: 40 anni di storie romanzi canzoni . Editori Riuniti, Rome 2002, p. 120 .
  172. ↑ Felice Liperi: Storia della Canzone italiana. Rai-Eri, 1999, p. 309.
  173. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 103-104 .
  174. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 115 .
  175. ↑ Guccini, Francesco. In: Enciclopedia Treccani . Retrieved May 29, 2020 (Italian).
  176. ^ Giacomo Pellicciotti: Francesco Guccini “Ora canto il G8 di Genova”. In: Repubblica.it. February 19, 2004, accessed February 19, 2017 (Italian).
  177. ^ Pierluigi Battista: Il "Secolo", la destra che dice tante cose di sinistra. In: Corriere.it. July 4, 2009, accessed February 19, 2017 (Italian).
  178. ↑ Michele Smargiassi: Il Mulino a lezione dal professore. In: Repubblica.it. November 11, 2006, accessed February 19, 2017 .
  179. ^ Gino Castaldo: “Sono un vecchio anarchico che ama ancora la poesia” . In: La Repubblica . June 13, 2002 ( repubblica.it [accessed February 19, 2017]).
  180. ↑ a b Interview by Federico Vacalebre, in: Il Mattino , March 14, 2007.
  181. ^ Guccini, come nasce una canzone. (No longer available online.) In: FrancescoGuccini.net. Formerly in the original ; Retrieved February 19, 2017 (Italian, article from Lo Sputo , 1985, pp. 17-19).  ( Page no longer available , search in web archives )@1@ 2Template: Dead Link / www.francescoguccini.net
  182. ^ Edmondo Berselli: Rosso Guccini. (PDF) December 29, 2000, accessed on February 19, 2017 (article from L'Espresso ).
  183. ↑ Guccini a Prodi: "Resisti, resisti, resisti". In: Corriere.it. November 11, 2006, accessed February 19, 2017 .
  184. ↑ Giorgio Ponzano: Guccini prende la chitarra by SEL. In: ItaliaOggi.it. November 23, 2011, accessed February 19, 2017 .
  185. ↑ Barbara Tomasino: Francesco Guccini: “Non sono renziano ma il mio voto alle europee andrà al PD”. In: HuffingtonPost.it. May 12, 2014, accessed October 23, 2014 .
  186. ^ Emiliano Liuzzi: Sorpresa, i giovani del Pdl amano Guccini. E lui risponde: “La cosa è involontaria”. In: IlFattoQuotidiano.it. September 13, 2011, accessed February 19, 2017 .
  187. ↑ Andrea Carrugati: Francesco Guccini: “Matteo Renzi ha detto che sono il suo cantante preferito? Sono innocente ”. In: HuffingtonPost.it. October 19, 2014, accessed February 19, 2017 .
  188. ^ Gianni Mura: Il ritorno della Baraldini. Storia di una buona causa. In: Repubblica.it. August 25, 1999, accessed February 19, 2017 .
  189. ↑ a b c Pier Vittorio Tondelli: Un weekend postmoderno. Cronache dagli anni ottanta. Bompiani, 1990, ISBN 88-452-5035-0 .
  190. ↑ Angela Barwig: 'Radici' - Francesco Guccini's novels and stories between the Via Emilia and the Apennines . In: Felice Balletta, Angela Barwig (ed.): Italian narrative literature of the eighties and nineties . Peter Lang, Frankfurt am Main 2003, ISBN 3-631-39368-7 , p. 142 .
  191. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 126 : “La mia intenzione era epicizzare ogni cosa, anche la più banale, in modo da renderla unica e insostituibile, quasi leggendaria… le favole della nonna non annoiano mai, tant'è che ancora oggi, quando torno in montagna, mi faccio raccontare storie che già conosco a memoria dai vecchi del paese. "
  192. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 115 : "Bologna 'Parigi in minore, mercati all'aperto, bistrots, della rive gauche l'odore', perché quando mi spostai da Modena scoprii certi angoli della città, come la già citata piazza Aldrovandi, che mandavano straordinari profumi di Francia, con mercatini all'aperto di frutta e verdure e bancarelle colorate. Io, Parigi, non l'avevo mai vista. "
  193. ↑ Stefano Paolo: A lezione dal dott. Guccini, docente di pavanese . In: Corriere della Sera . October 27, 2002, p. 26 ( corriere.it ( memento of November 13, 2012 in the Internet Archive ) [accessed on February 19, 2017]).
  194. ↑ Angela Barwig: 'Radici' - Francesco Guccini's novels and stories between the Via Emilia and the Apennines . In: Felice Balletta, Angela Barwig (ed.): Italian narrative literature of the eighties and nineties . Peter Lang, Frankfurt am Main 2003, ISBN 3-631-39368-7 , p. 134 .
  195. ^ Massimo Cotto: Un altro giorno è andato . Giunti, Florence 1999, p. 94 : “ecco i fumetti, proibiti da piccolo perché giudicati poco istruttivi. Sono le passioni giovanili della mia generazione. "
  196. ^ Storie dello spazio profondo. (No longer available online.) In: Tratteggi.com. Archived from the original on October 6, 2007 ; Retrieved February 19, 2017 .
  197. ↑ Carmine Treanni: Storie dello spazio profondo. In: Fantascienza.it. May 21, 2010. Retrieved February 19, 2017 .
  198. ^ Guccini F. / Rubino F .: Vita e morte del brigante Bobino detto Gnicche . Lato Side, Rome 1980.
  199. ↑ a b Francesco Guccini, biografia. In: MyMovies.it. Retrieved February 19, 2017 .
  200. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 10 .
  201. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 302 .
  202. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 340-344 .
  203. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 316 .
  204. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 322-323 .
  205. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 348 .
  206. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 354-361 .
  207. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 368-376 .
  208. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 384-402 .
  209. ↑ a b c d Chart sources (albums):
    • Guido Racca: M&D Borsa Album 1964-2019 . Self-published, 2019, ISBN 978-1-09-470500-2 , pp. 184 (IT until 1995).
    • Guido Racca & Chartitalia: Top 100 FIMI album . Lulu , 2013, p. 115 f . (IT 1995-2012).
    • Albums by Francesco Guccini. In: Italiancharts.com. Hung Medien, accessed February 12, 2017 (IT since 2000).
  210. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 409 .
  211. ^ Angela Barwig: Francesco Guccini and the development of the Italian author's song . Lit, Berlin 2008, p. 93-94 .
  212. ↑ Angela Barwig: 'Radici' - Francesco Guccini's novels and stories between the Via Emilia and the Apennines . In: Felice Balletta, Angela Barwig (ed.): Italian narrative literature of the eighties and nineties . Peter Lang, Frankfurt am Main 2003, ISBN 3-631-39368-7 , p. 131 .
  213. ^ Fausto Pellegrini: Biografia di Francesco Guccini. (No longer available online.) In: RaiNews24.it. Archived from the original on April 3, 2012 ; Retrieved February 19, 2017 .
  214. ↑ I premi letterari. Città di Alassio, accessed February 19, 2017 (Italian).
  215. ↑ Giovanni Desideri: Festival Ferré: nella serata conclusiva assegnata la Targa Léo Ferré 2004 a Francesco Guccini. In: IlQuotidiano.it. June 6, 2004, accessed February 19, 2017 (Italian).
  216. ↑ Marco Peroni: Il Premio Giacosa 2005 assegnato a Francesco Guccini. In: Italianissima.it. August 17, 2005, accessed February 19, 2017 (Italian).
  217. ↑ Storico Guccini in quattromila a cantare! (No longer available online.) In: RuggeroPegna.it. March 25, 2007, archived from the original on April 25, 2012 ; Retrieved February 19, 2017 .
  218. ↑ Mauro Smocovich: Premio Scerbanenco 2007. In: ThrillerMagazine.it. December 7, 2007, accessed February 19, 2017 (Italian).
  219. ^ Premio Letterario Internazionale Ceppo Pistoia. Paolo Fabrizio Iacuzzi, accessed February 19, 2017 (Italian).
  220. ^ Premio Arturo Loria 2008. In: Carpidiem.it. Retrieved February 19, 2017 .
  221. ^ Albo d'oro del Premio Chiara Le Parole della Musica. In: PremioChiara.it. Amici di Piero Chiara, accessed February 19, 2017 (Italian).
  222. ^ Guccini Sig. Francesco - Ufficiale Ordine al Merito della Repubblica Italiana. In: quirinale.it. Retrieved February 19, 2017 .
  223. ^ Carlo Moretti: Guccini, laurea honoris causa “La mia America modenese”. In: Repubblica.it. May 21, 2012, accessed February 19, 2017 (Italian).
  224. ↑ Chart sources (singles):

Song quotes

  1. ↑ "E te li senti dentro quei legami ... La casa è come un punto di memoria", from Radici , album Radici , 1972 ("And you feel those bonds inside you ... The house is like a reference point for memory").
  2. ↑ "quell'uomo era il mio volto, era il mio specchio ...", from Amerigo , album Amerigo , 1978 ("the man was my face, was my mirror ...").
  3. ↑ «Piccola città, bastardo posto / appena nato ti compresi o fu il fato che in tre mesi mi spinse via / Piccola città, io ti conosco: nebbia e fumo, non so darvi / il profumo del ricordo che cambia in meglio…», from Piccola città , album Radici , 1972 (“Small town, dirty place / I understood you right at birth or was it fate that pushed me out after three months / Small town, I know you: Fog and smoke, I can give you / not a smell of memory that changes for the better ... ").
  4. ↑ «se penso a un giorno oa un momento / ritrovo soltanto malinconia / e tutto un incubo scuro, un periodo di buio gettato via… /… mia nemica strana sei lontana… / io, la montagna nel cuore / scoprivo l'odore del dopoguerra ", From Piccola città , album Radici , 1972 (" when I think back to a day or a moment, I only find melancholy / and everything is a dark nightmare, a dark lost time ... / ... you are far away, my strange enemy ... / with the mountains in my heart / I discovered the smell of the post-war period ”).
  5. ↑ "Ed io, burattinaio di parole / perché mi perdo dietro a un primo sole / perché mi prende quest'assurda nostalgia?", From Samantha , album Parnassius Guccinii , 1993 ("And I, a puppeteer with words / why do I lose myself in a sunrise / why does this absurd nostalgia seize me? ").
  6. ↑ "di discussioni, Caroselli, eroi, cos'è rimasto dimmelo un po 'tu", from Eskimo , album Amerigo , 1978 ("from discussions, Caroselli, heroes, what is left, tell me").
  7. ↑ “un'esistenta andata in tanti giorni uguali e duri / E ancora mi domando / se sia stato mai felice / Se è stato sufficiente / sopravvivere a se stesso”, from Il pensionato , album Via Paolo Fabbri 43 , 1976 (“an existence which has passed in the course of many uniform and hard days / And I still wonder / whether he was ever happy / whether it was enough for him / to survive himself ”).
  8. ↑ «Città assurda, città strana / di questo imperatore sposo di puttana, / di plebi smisurate, labirinti ed empietà, / di barbari che forse sanno già la verità, / di filosofi e di eteree, sospesa tra due mondi, e tra due ere … », From Bisanzio , album Metropolis , 1981 (“ Absurd, strange city / from this emperor, married to a whore, / from unspeakable rabble, from erring and wickedness, / from barbarians who perhaps already know the truth, / from philosophers and heavenly ones, you city between two worlds, between two ages ”).
  9. ^ "Bologna per me provinciale Parigi minore ... Bologna ombelico di tutto, mi spingi a un singhiozzo e ad un rutto / rimorso per quel che m'hai dato, che è quasi ricordo, e in odor di passato ...", from Bologna , album Metropolis , 1981 ("Bologna for me provincial a little Paris ... Bologna navel of everything, you urge me to sob and belch / guilt because of what you gave me, which is almost a memory, with the smell of the past ..." ).
  10. ↑ "il mondo di Paperino sognante e misterioso" from Amerigo , Album Amerigo , 1978 ( "the dreamy and mysterious world of Donald Duck ").
  11. ↑ "Ridesti nel vedermi grande e grosso coi fumetti" of Canzone delle situazioni differenti , album Stanze di vita quotidiana , 1974 ( "you laughed when you saw my swagger with the comics").
  12. ↑ "e io con danzo Snoopy e con Linus", from Via Paolo Fabbri 43 , album Via Paolo Fabbri 43 , 1976 ( "and I dance with Snoopy and Linus ").
This article was added to the list of excellent articles in this version on June 11, 2020 .
personal data
SURNAME Guccini, Francesco
BRIEF DESCRIPTION Italian Cantautore (song poet), writer and occasional actor
DATE OF BIRTH June 14, 1940
PLACE OF BIRTH Modena