Le Nuvole

Editorial Reviews

All Music Guide - Mariano Prunes
De André originally intended to continue his investigation of Mediterranean folk music, so successfully explored in 1984's groundbreaking Creuza de Mä. However, he felt that such a task would distance him from committing to record his opinion on the political upheaval going on in Europe and in Italy at the time of the fall of the Berlin wall. Since he was equally keen on both counts, he conceived a new project, loosely inspired on Aristophanes' play The Clouds. De André divided Le Nuvole into two mini-suites, one per each side. The first one, sung in Italian, deals with the desolate state of current affairs in Italy, where moral decadence and political corruption had ...
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Editorial Reviews

All Music Guide - Mariano Prunes
De André originally intended to continue his investigation of Mediterranean folk music, so successfully explored in 1984's groundbreaking Creuza de Mä. However, he felt that such a task would distance him from committing to record his opinion on the political upheaval going on in Europe and in Italy at the time of the fall of the Berlin wall. Since he was equally keen on both counts, he conceived a new project, loosely inspired on Aristophanes' play The Clouds. De André divided Le Nuvole into two mini-suites, one per each side. The first one, sung in Italian, deals with the desolate state of current affairs in Italy, where moral decadence and political corruption had managed to contaminate all ideologies, rendered now effectively meaningless. The second side, sung in Genoese, Sardinian, and Neapolitan dialect, consists of a series of folk tales, in the vein of Creuza de Mä. If De André had considerably slowed down his output since the early '80s, he compensated with a rise of his already notorious fastidious perfectionism. Le Nuvole involved a cast of dozens of musicians, as well as three arrangers, Mauro Pagani, Piero Milesi, and Sergio Conforti. Pagani, the musical brain behind Creuza de Mä also was also credited as co-composer, and Massimo Bubola and Ivano Fossati collaborated on the texts of three songs. Le Nuvole took four years to complete, but it was worth the wait: it is probably the most superbly arranged album of the entire De André discography. Musically, it spreads from Viennese waltzes and Neapolitan songs from the 18th century to orchestral pieces and folk songs played on ethnic instruments. While every track in Le Nuvole is ostensibly great, and the diversity of styles showcases De André's impressive versatility, the record's hybrid nature makes it sound like two different albums instead of a single cohesive masterpiece. The first side brilliantly updates De André's topical songwriter credentials, adding a few more classics to the catalog in the process such as "Don Raffae'" and "La Domenica Delle Salme." This last song is a perfect political counterpoint to De André's autobiographical classic "Amico Fragile," built around a similar tremolo pattern. It is also equally harrowingly sarcastic in tone, a seven-and-a-half minute clenched-teeth fresco of contemporary society plagued by organized violence, racial intolerance, immoral opportunism, and social and political indifference. The second side is less immediately impressive (or disturbing), but it is full of beautiful, reflective passages as well as superb vocal performances and arrangements. Indeed, as his simply gorgeous rendition of "La Nova Gelosia" (an ancient Neapolitan song rediscovered by Roberto Murolo) can attest, De André has seldom sung better than on this record.
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Product Details

  • Release Date: 11/26/2002
  • Label: Sony/Bmg Italy
  • UPC: 743219744623
  • Catalog Number: 197446
  • Sales rank: 148,898

Tracks

Disc 1
  1. 1 Le Nuvole (2:16)
  2. 2 Ottocento (4:56)
  3. 3 Don Raffae' (4:08)
  4. 4 La Domenica Delle Salme (7:35)
  5. 5 Mègu Mègun (5:21)
  6. 6 La Nova Gelosia (3:04)
  7. 7 'A Çimma (6:18)
  8. 8 Monti di Mola (7:45)
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Album Credits

Performance Credits
Fabrizio De André Primary Artist, Vocals
Piero Milesi Performing Ensemble
Mario Arcari Trumpet
Amedeo Bianchi Trumpet
Roberto Bonati Contrabassoon
Walter Calloni Drums
Carlo DeMartini Violin
Demo Morselli Trombone, Trumpet, Tuba, Basso Continuo
Mauro Pagani Bouzouki, Mandolin, Violin, Kazoo, Vocals, Bamboo Flute
Flavio Premoli Fisarmonica
Silvio Righini Cello
Giovanni Antonini Flute
Stefano Barneschi Violin
Enrico Onofri Violin
Paolo Costa Basso Continuo
Michele Ascolese Chitarrone
Federico Sanesi Darbouka
Renato Rivolta Ottavino
Diane Rama Soprano, Coro
Sergio Conforti Piano, Harmonium, tastiere
Livia Baldi Violin
Giacomo Trevisani Violin
Adriano Ancarani Cello
Giuseppe Barbareschi Contrabassoon
Sebastiano Borelle Viola
Michele Brescia Flute
Esteban Candelario Cabèzas Percussion
Alessandro Cairoli Coro, Baritonos
Adelia Colombo Corno D
Elena Confortini Violin
Giuseppe Donno Tenor (Vocal), Coro
Lucio Folilela Basso Continuo, Coro
Franco Formenti Viola
Anna Maria Galligani Viola
Marria Gabriella Giaquinta Corno D
Carlo Goj Viola
Jorge Alberto Guerrero Cello
Luciano Marconcini Trumpet
Franco Pettinari Ghironda
Nicola Zuccalà Clarinet
Cristina Cassiani Ingoni Viola
Maria Mereu Vocals
Alessio Nava Trombone
Brigid Sinead Nava Violin
Carlo Proverbio Coro, Baritonos
Sergio Orlandi Trumpet
Nadia Pellicciari Soprano, Coro
Beatrice Cosma Pomarico Cello
Francesco Pomarico Oboe
Emanuela Sfondrini Violin
Umberto Marcandalli Trumpet
Enrico Martinelli Cello
Lucia Vivien Pick Soprano, Coro
Lalla Pisano Vocals
Giuseppe Lopopolo Tenor (Vocal), Coro
Martino Lovisolo Violin
Angelo Pusceddu Percussion
Gianfranco Scafidi Corno D
David Searcy Triangle, Timpani
Debora Tedeschi Violin
Maria Cristina Vasi Violin
Luisa Vinci Trombone
Bortolo Laffranchi Coro, Baritonos
Caterina Dell'Agnello Cello
Technical Credits
Piero Milesi Arranger, Orchestra Director
Fabrizio De André Arranger, Producer
Mauro Pagani Arranger, Composer, Producer
Ivano Fossati Composer
Fabio Berruti Graphic Restoration, Photo Restoration
Massimo Bubola Composer
Sergio Conforti Arranger
Samuel Bellamy Author
Alfio Melotti Contributor
Paolo Somià Contributor
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