LYRICS AND LISTENING
| CREDITS | CANTA RO´ IN TRIO
After the enriching experience of the first Album, Etta left the motorway with the second CD in Trio formation at the first exit, and instead enjoyed the journey along a country road, along a farm track. And once again, she consciously knew that she would leave her own trail behind; two paths never exactly cover each other, she goes along this road with thoughts of Rosa again - but it is her own course, and that is that.
This new Album presents live recordings again, and even though the formation is limited this time essentially to a trio, the instrumentation covers a kalaeidoscopic variety of sounds, thanks to the abilities of the musicians involved. In addition to the basic formation of guitar (romantic), accordion and mandolin, instruments such as the flute, clarinet, trumpet, trombone and tuba, percussion instruments of different origins, the harp, lute, fiddle, harmonium, jew`s harp, musical saw are to be heard - an enormous amount of sound instruments whose transport alone throughout the tour, from which this CD comes, is comparable in organisational expenditure to that of an Orchestra.
We hope that the results of these efforts come across just as clearly in these recordings as at the concerts themselves, we want to add one clarification only here: the term "arrangement" in music comes originally from the mastery of all possible styles of the art "to arrange oneself, to find ones way" and in this sense each musician is an arranger of himself - also a symphony orchestra falls into this category. And so it is the opportunity to have the instrument "orchestra"available (that, as a reminder, consists of people who are ready to cooperate in a project) that allows you to use it, not the other way around. Once she mastered (but not brought to an end) the "orchestra test", Etta has in this opportunity used the possibility to return to her own familiar path, that is she brought the tribute to Rosa to a group of highly qualified musicians. Musicians which she didn`t have to search all over the world for, rather those who have taken part for years in her artistic, musical and recording activities. It was therefore downright easy, or shall we say natural, or shall we say inevitable that they should also be included in this adventure (in which, previously at least, they weren`t always involved) and reconsider with them and for them the pieces which Etta has, through her previous experience taken as her own in such an intensive way.
At the end, the human element is crucial, and the fact of having a brother who can play lute can bring one to the idea that "that could actually work well!". And this possible arrangement had the opportunity to bring a new sense to a family relationship - the confluence of two rivers always strived for, but difficult to realise because they flow in parallel and distant ways: when you had sung the Billy Holliday Blues in Vienna and he was on the trail of Fransesco da Milano.
It is like an "alloy through the human element" - that is the decision to give the human aspect a musical sense and a human sense to musical experiences, instead of the abstract and forced executions of styles, forms and performance practices. It is life that flows into the music, the life of Rosa, the life of Etta, the life of us all.
The production «Canta Ro´ in Trio»
Sebastiano Scollo
The orchestral arrangement of the songs of the great Rosa (Etta Scollo and the Orchestra Sinfonica Siciliana under the direction of M° Angelo Faia - Canta Ro', Hommage an Rosa Balistreri.- CD+DVD; 2005 Premium/Audioglobe) was consciously an extreme action, with which Etta above all else wanted to answer the question she`d asked herself "how would this music sound, when played by a symphony orchestra?" Naturally there had to be an infinite number of answers to this question - though all should have the same objective; to bring across the spirit of Rosa Balestreri, the "personality that runs along a cotton thread" as Iganzio Buttita described it, to a new and certainly unusual environment for Rosa, which was suitably called "a three-lane motorway" (Marco Boccitto, "Alias" 19-2005: the quote from Buttita also originated here), but, as those who knew her would know, would also have pleased the songwriter herself.After the enriching experience of the first Album, Etta left the motorway with the second CD in Trio formation at the first exit, and instead enjoyed the journey along a country road, along a farm track. And once again, she consciously knew that she would leave her own trail behind; two paths never exactly cover each other, she goes along this road with thoughts of Rosa again - but it is her own course, and that is that.
This new Album presents live recordings again, and even though the formation is limited this time essentially to a trio, the instrumentation covers a kalaeidoscopic variety of sounds, thanks to the abilities of the musicians involved. In addition to the basic formation of guitar (romantic), accordion and mandolin, instruments such as the flute, clarinet, trumpet, trombone and tuba, percussion instruments of different origins, the harp, lute, fiddle, harmonium, jew`s harp, musical saw are to be heard - an enormous amount of sound instruments whose transport alone throughout the tour, from which this CD comes, is comparable in organisational expenditure to that of an Orchestra.
We hope that the results of these efforts come across just as clearly in these recordings as at the concerts themselves, we want to add one clarification only here: the term "arrangement" in music comes originally from the mastery of all possible styles of the art "to arrange oneself, to find ones way" and in this sense each musician is an arranger of himself - also a symphony orchestra falls into this category. And so it is the opportunity to have the instrument "orchestra"available (that, as a reminder, consists of people who are ready to cooperate in a project) that allows you to use it, not the other way around. Once she mastered (but not brought to an end) the "orchestra test", Etta has in this opportunity used the possibility to return to her own familiar path, that is she brought the tribute to Rosa to a group of highly qualified musicians. Musicians which she didn`t have to search all over the world for, rather those who have taken part for years in her artistic, musical and recording activities. It was therefore downright easy, or shall we say natural, or shall we say inevitable that they should also be included in this adventure (in which, previously at least, they weren`t always involved) and reconsider with them and for them the pieces which Etta has, through her previous experience taken as her own in such an intensive way.
At the end, the human element is crucial, and the fact of having a brother who can play lute can bring one to the idea that "that could actually work well!". And this possible arrangement had the opportunity to bring a new sense to a family relationship - the confluence of two rivers always strived for, but difficult to realise because they flow in parallel and distant ways: when you had sung the Billy Holliday Blues in Vienna and he was on the trail of Fransesco da Milano.
It is like an "alloy through the human element" - that is the decision to give the human aspect a musical sense and a human sense to musical experiences, instead of the abstract and forced executions of styles, forms and performance practices. It is life that flows into the music, the life of Rosa, the life of Etta, the life of us all.
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