{"id":26880,"date":"2024-07-03T10:19:35","date_gmt":"2024-07-03T08:19:35","guid":{"rendered":"https:\/\/www.nota.it\/de-andre-un-genovese-mediterraneo-a-napoli\/"},"modified":"2025-10-31T11:14:46","modified_gmt":"2025-10-31T10:14:46","slug":"de-andre-un-genovese-mediterraneo-a-napoli","status":"publish","type":"post","link":"https:\/\/www.nota.it\/en\/de-andre-un-genovese-mediterraneo-a-napoli\/","title":{"rendered":"De Andr\u00e8, un genovese mediterraneo a Napoli"},"content":{"rendered":"

‘Na strada ‘mmiez’o mare. Naples for Fabrizio De Andr\u00e9 reinterprets Cr\u00eauza de m\u00e4 in Neapolitan<\/em><\/p>\n

by Guido Festinese – giornaledellamusica.it<\/a><\/p>\n

\"\"Various artists.
\n‘Na strada ‘mmiez’o mare. Naples for Fabrizio De Andr\u00e9
\nNota Records
\n2024
\nWe have been using the term \u2018classic\u2019 to refer to something related to the world of art, or in any case to human ingenuity, for almost two thousand years. In the second century AD, that controversial little word was coined by Aulus Gellius, and the reference was, in fact, \u2018classist\u2019: it was classic and worthy, therefore, of what a \u2018class\u2019 well endowed with wealth and economic presence could afford.<\/p>\n

Through various curious twists and turns, the word has come down to us. The meaning closest to our intentions and purposes today (and since Goethe) is that a classic knows how to live comfortably in the present, while not forgetting the past and keeping an eye on the future.<\/p>\n

In fact, this is how the works of Shakespeare, Dante, Borges, and Virgil work, innocent inhabitants of different eras. It works the same way in music, and even in popular music, at least the kind that is most receptive to influences that are not popular, or are only partially so: think of Sgt. Pepper by the Beatles, or that disturbing masterpiece, now in its fortieth year, that was and is Cr\u00eauza de M\u00e4.<\/p>\n

Now that the austere and reifying museum aura that long haunted De Andr\u00e9 has vanished, as has been well noted by some attentive scholars, we can take stock and make observations, but also talk about the present. Cr\u00eauza de m\u00e4 was truly an unwitting classic, created in the heart of the years of \u2018Reaganite hedonism\u2019 and \u2018Milano da bere\u2019 (Milan to drink), in a stubborn and contrary direction, to quote Faber, or rather, his mentor \u00c1lvaro Mutis.<\/p>\n

Cr\u00eauza de m\u00e4 was a turning point, a new beginning, a point launched into the infinity of pop and singer-songwriter music to build a straight line made up of infinite points.<\/strong><\/p>\n

It was a turning point, a new beginning, a point launched into the infinity of pop and singer-songwriter music to build a straight line made up of infinite points. Its two limitations, referring to a language that no one understood, an almost invented Genoese dialect, and music that no one knew, a bunch of Mediterranean aromas that were also (almost) invented and that no one in the general public suspected, became strengths.<\/p>\n

Here, the discussion could end: because finally, Nota Records is releasing the recording of two memorable evenings held in the courtyard of the Maschio Angioino on September 14 and 15, 2015: ‘Na strada ‘mmiez’omare \/ Napoli per Fabrizio De Andr\u00e9<\/strong>. Cr\u00eauza de m\u00e4 sung and played in its entirety.<\/p>\n