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In my head, in this period, it was present the beginning of the composition “ Come augello in cantilena” and my wish has been to return to the initial version using the sentence that had been excluded during the layout: “nel cuor del passerotto..” in fact represents the initial phase as it had been thought. Made this change I have tried to introduce some changes with the purpose to write a faster composition, also only for the insertion of limited mutations. In this way I have replaced the term “ pianto “ ( that reduces the speed in that specific part of the poetry ) with the fastest “canto “contextually inserting “ridente” instead of “festoso “searching, in this way, to give greater harmony to the poetry. Necessity to intervene also on the final part has determined a light diminution of the speed, even if this thing results less evident than for the initial part. Coming then to the analysis of the second version, during the layout I have had two doubts, the first one with reference to the use of the term “suadente” instead of “ ridente “ in the initial part of the poetry, and in the end I have decided for the second term to avoid the assonance of “suadente” with the term “suon “ ( for the presence of the letter “s”) . The second doubt concerns the general valuation of the sounds present in the poetry and for this reason I had thought to change the sounds repeated in the initial and in the second part of the composition, with reference to the expressions “..ridente a cinguettar nel canto..” and “..gaudente e in fuggitivo pianto..”. At the end I have held these expressions not inserting in the final part terms like “arioso” or “festoso” or something similar. The poetry remains however a “semplice descrittiva in forma propria” built on the sound and only with a limited control of the lilt. In this period I am continuing the layout of poetries directly written in English and in French. After sometime the thing results to be simpler, the exercise and the continuity are decisive to succeed in the intent and my intention is to make so also for the Spanish language, gradually and without forcings. Necessity to use terms and different words has brought me to choose two different types of layout of these compositions, the first one with the use of terms that I know about the language in object, the second one instead based on the search of new terms and so, for reaching this result, I search casually new words in the dictionary and I use them to build a new poetry, searching to remember them for the successive layouts. “Speaking to the world” and “ Softly, in a pleasure” are the two new poetries published in the Second List of updatings considering that the first has been written in the same circumstances present in the other “ This is your England / Thanks Elton “. A brief consideration regarding the actual songs of one of my preferred singers, Elton John, brings me to say that actually this author is able to write songs at levels of creativeness similar to those presents in the songs of the first years Seventy, and this thing is evident in songs like “Tenderbox “or “ Wouldn’t have you any other way ( New York City )” contained in the album “ The Captain and the kid “. To conclude this intervention I quote the new site inserted in the first list of updating, the Spanish site recently inserted as site of call on the site of reference. My want is to increase the number of sites presents in this first List with the proposal, considering the kind of Nations present in the two Lists, and in the future, to create a third List formed by Sites of Nations actually not present. Intervento su Polytica – Polonia 5/6/2007.
In the month of February 1993 my literary activity was in a phase already developed and the feeling that I had in that period was that to write poetries after a lot of time from the month of July 1991, that’s from the beginning of the same activity. It was already ended, from some months, the first year of literary production, the inclusive period among the July 1991 and the July 1992, in an year in which I had written all the most important and meaningful poetries, I had introduced the construction on the sound and I had marked the carrying lines of the whole my production. Everything this to say that I was already in a different phase, also in consideration of the quality of the sound, in comparison to that happened in the preceding year, having besides already effected, in an ample and capillary way, the divulgation of the poetries in Italy, this thing began in the month of September 1992. In the moment in which I was about to conclude the month dedicated to the composition of the poetries, and precisely in the last Saturday of February 1993, I decided to go in mountain, at Santa Maria Maggiore, returning after some months in that place also to write a new composition. Idea was that to write a particular poetry , giving it a formulation that reflected my emotional situation of that period. I arrived in mountain toward midday and I noticed the presence of the snow in the white fields covered by ice in some parts. The decision, taken to the moment, was that to find a place that could entertain me, for around 30 minutes, to the open, while the temperature was near to the zero, to write the poetry, and I wanted to verify the effects produced on the sound by the fact to write in a situation of cold. I went in a place called “Centro del fondo”, the same in which, around 2 years before, in the month of September 1992 and in the meddle of it, I had written, in a beautiful day of sun, the story “Valle dei pittori l’avevan chiamata..”. I took a seat on the benches in a wood set behind this place, long benches to the center of which there was a great table, used in the summer for the open parties. There was a lot of cold in a situation of absolute silence, and any person was present. In front of me, in a private garden placed near by I saw two dogs, a white one and a black one that raced and played in the snow and this was at that time the only element of present life. I eat a fruit allowing to pass some minutes so that my body was suited for that atmospheric situation and the present cold, I tried so to reach a situation of harmony and stability and just in that moment I saw, among the branches that were around me on the trees, the presence of the snow that began to go down on me in a feeble but continuous way. I decided so to begin the poetry with the sentence “ Il ticchettio dei fuggitivi fiocchi….” and I decided for this sentence rather than “ Il ticchettar dei fuggitivi fiocchi..”. The composition continues with the rhythm typical of the poetries that I identify as the “ semplici descrittive in forma propria”. I wrote the poetry in about 30 minutes and at the end my hands were almost frozen. I consider this poetry "Sito del primier idillio “, one of the most complete composition for fluence and harmony present and a typical example of poetry built on the sound. Coming to the compositions written in this period the poetry in Spanish language "El dolor de la juventud" is not entirely still built on the sound even if I move me in that direction . I have however to add that for the poetries written in Spanish I don't have the possibility to effect a particular grammatical control, and so the poetries written in this language will be simply and eventually considered like first versions. “Crying for the moon” and “This is your England / Thanks Elton” are the two new compositions published on the second list of updating. Fr the publication of this last composition on the site of reference I have chosen, as site of call, that of the Swedish newspaper Aftonbladet and I desire to thank the redaction and particularly Lena Karlsson for the decisions taken in relationship to the diffusion of my poetries. Intervento su Vida Ribatejana - Portogallo 23/5/2007
In the late afternoon of the day of Saturday 28 April I have had news of two different facts happened in that days, and I have immediately decided to write two compositions in relation to them. My decision has been that to write at first a poetry “semplice descrittiva in forma propria” and then another poetry “semplice sentita”. I have begun with the first composition, “ Come augello in cantilena”, and I have written it in few minutes without any interruption and with an inspiration dictated by the emotional involvement of the moment that however has not conditioned the final layout. In the first drafting the composition began with the expression “ Al par del passerotto..” but after having written this sentence I have thought about changing it for the repeated presence of the letter “p”, introducing so the new beginning “ Nel cuor del passerotto..”. After having written the whole composition, during the publication of it on the site of reference, for a distraction, I have inserted the native expression that has become definitive. The decision besides to use, in the beginning of the poetry, the term “pianto” instead of “canto” has been determined by the presence of this second word in the final part of the poetry, when I say “…in fuggitivo canto”. The composition is dedicated to the Italian gymnast Vanessa Ferrari, winning of two gold medals to the European Championships of gymnastics in Amsterdam. After having written this first poetry, and without interruption, I have faced the second composition, “Vanessa “, written with particular emotional share. During the layout I have repeatedly changed version and in the end, not finding a form and an expression conforming to the gravity of the fact happened I have concluded the poetry with a passage similar to those used for other poetries and perhaps not entirely consonant, formally, to the first part of the composition. Both the poetries are been written using, as song of support, the beautiful “I’ve been waiting for you “ by Abba. The double layout of two compositions written one after the other one has also been used for two poetries inserted in the second List of updating and entitled “Reason in life” and “With a sound in the air”. The two poetries in fact have the same sound, some words inserted in them are similar and the present emotional formulation for both is the same. When I have begun the layout of “Whit a sound in the air” idea was that to reach the colon with a progressive increase of the speed and with the use of the sentence, after the punctuation, “ and a crying in the air…,” but finding the expression “.. your beautiful eyes appear in the air..” I have had to find a different wording postponing to other composition the use of the expression in origin thought. Another remarkable technical factor of this composition is the decision to write the final part with a certain number of words, with enough long sentences that would have been able to be replaced by briefer expressions. The other composition proposed on the second List of updating, “ In the darkness, sometimes..” has been written searching the use of new words not often utilized. “Al suon del dì novello” is a typical “idillio” in which there is, in the progressive evolution of the poem, an increase of the speed to the purpose to come rather quickly to the colon and to a drastic reduction of the speed. In this case the intent has been reached with the use of the expression ".. al morir del mattino..” preferred to “.. al morir dei mattini “ for creating the right atmosphere with the successive expression “..e mi rinvien l’eterno”. In the central part of the poetry I have looked for a game of sounds that also favoured the speed of the composition. To conclude this intervention I wanted to thank the redaction of the Belgian newspaper “ Gazet Van Antwerpen” for the choices made in this period in relation to the publication of my compositions, an important thing for the diffusion of my compositions in this country. Intervento su El Mundo – Spagna 9/5/2007
This intervention on the site of the BBC, one of the most important sites in which I am present, is almost entirely dedicated to the circumstances that have allowed me to write the composition entitled “ Chanson éternelle”. This composition, in absolute, is my first directly written in the French language, without passing from translation and simply using the words that I know of this language. The composition has been written, without great difficulties, two weeks ago, in the evening. The original idea that I have had till the end of the month of November was to write a composition directly in language English, and the title of the poetry that I had decided was “ Mull of Kintyre”, publishing the composition on the site of reference and putting, as site of call, that of an important site of the United States of America in which I am present. Idea was to dedicate the composition to the redaction of the newspaper of Pakistan “Paktribune” for the help given to the diffusion of my poetries in that Nation. In the first days of December I have however initiated to think about the possibility to propose a poetry directly written in French, and this decision has changed what I initially had decided. The insertion of the site of “Poesia Creativa” and the dedication to the German newspaper Freie Presse represent the final result of this change of intention. To write this poetry I have used, as songs of support, two compositions written by my preferred artist , Paul Mc Cartney, whose compositions have inspired me for the birth of my technique, the construction on the sound. Two very melodic and full of creativeness songs, “ Only love remains” and “Footprints”, published in 1986 and that, in my opinion, are probably the best compositions of the years 80 of this artist. The intention has been that to depart in a calm way, using the punctuation to reduce the speed and the effect of the lilt being the composition built on the sound, and in this first part the intent has been reached. After this first part I have tried to increase the speed so that to create a change of rhythm preparing me to a further change of rhythm for the final phase, and, in this central part, I have tried only to check the lilt, looking for harmony and fluency and using terms of various kind, not too much hard and not too much soft. In the moment in which the speed has been reached I have made the second change of rhythm using not only the punctuation but also a proper phrase for this purpose. In the final part therefore I have reduced again the speed recreating the same atmosphere of the initial part. The necessary atmosphere to write the poetry has also been reached by the use of the assonances. In the first part, on purpose, I have used two important words for this composition, “doucement” et “ le vent”, that have conducted me and driven in the creation of the whole poetry, contextually seeking a certain variety of sounds, reached with the use of certain letters and words. The assonance of the last part, with the use of the words “la vie” and “l’harmonie, has also been finalized to the reduction of the speed. Another important technical consideration is given by the double use of the expression “J’ecoute”, that I have decided to maintain. Then the last part: this has been the only part with a little difficulty, in my mind the original idea was in fact to use the expression “ la musique de la fugitive niege”, but then I have changed this expression because I have tried to create three propositions of different length so that to reach more harmony and this is the reason for which I have written only “la fugitive neige”. These are the most important formal characteristics that in this moment I have in my head. The composition has been written in around 30 minutes and it has presented to the redaction of the French newspaper Le Monde. “Al fior degli anni tuoi” it is a typical composition built on the sound, very fast and flowing, similar to those that I wrote in the first years of my literary activity. “In a tender present” is a composition directly written in language English and that re - enters in the typology of the sonnets in experimentation with the use of hard terms, so I indicate it like “ Inglese diretta / Sonetto in sperimentazione con l’utilizzo di termini duri”. *************************
The “construction on the sound”, the technique that I use for composing all of my poetries, is born from an instinctive and direct formulation based on the necessity to build the image from the interaction of the sounds present in the single words that form the composition. For this reason the characteristics typical of my poetries is given by the attainment of a certain speed in the exposure and in the composition, a speed that, in some cases, I try to control. Currently, in my present literary activity, there are 3 typologies of compositions in which I reduce the speed, 2 of these typologies are given by poetries built on the sound, in one case the reduction of the speed is reached attenuating the same formulation of the construction on the sound and arriving to an approach based on the construction instead on the meaning ( remembering always that, also when I try not to apply my technique, a certain inevitable conditioning is present). The first typology of compositions in which I reduce the speed is given by the “sonetti in sperimentazione con utilizzo di termini duri”, in which, applying the rules of the construction on the sound, I come to a certain reduction of the speed (in the intent to reduce the conditioning determined by the lilt). Always in the circle of the construction on the sound a second formality of reduction of the speed can be found inside the compositions that I identify as “leopardiane dirette”, compositions set on the limit of the construction on the sound but that re-enter in it however: in this case the result of reaching a certain diminution of the speed is given by the wish to find the “effetto compressione”, that is a particular effect present in this kind of compositions. The third way used for the reduction of the speed concerns the poetries that I identify as “leopardiane dirette in forma meditata” in which I apply the construction on the meaning adopting a different formality of literary approach ( considering besides that the typical and initial formulation of such typology of compositions implicates the preferential use of hard terms, in alternative to the eventuality of a composition “ attenuata”) A first poetry that I have published and proposed in this period on the site of reference concerns the poetry in Italian and French language entitled “ Cadeaux pour Sophie”. In the version in Italian language the poetry re-enter in the typology of the “semplice/descrittiva in forma propria”, with application of the construction on the sound and support to the lilt. In the version in French language there is to notice the position and the role of the term “ où”, that, generally, determines a notable reduction of the speed and a change of rhythm of the whole period. For this reason I try to control the effects determined by this word always trying to compensate them on the purpose of a general maintenance of the harmony of the whole poetry. “Siede la sera” is a poetry that I have decided to dedicate to Monica. A consideration of formal character concerns the final part of this poetry having had the doubt to insert the expression ".. ed inventa un sorriso” instead of that inserted in the definitive layout. In the end I have maintained the insertion of the letter “s” with the consequent effects of sound. “The girl with golden hairs” is the description of an imaginary girl described in connection with the harmony and the sweet colours present in a sunset, and with a reference to the past and the magic atmosphere of the northern landscapes. My wish, in relation to the poetries in English and French language, is that to try to vary the used terms, so to create different effects of sound maintaining always the respect of the rules of base present in the construction on the sound. ******************************************* As indicated and written on the site of reference, the two poetries “Come candido lume che di notte fiorisce” and “ When the morning seems so grey..” , have been composed using as song of support the beautiful “Happy New Year “ written by the Swedish group of the Abba. I have decided to use this ballad even if there are other beautiful songs that I could consider, as “ The name of the game” or “Super Trouper”; in the end I have chosen “ Happy New Year “, composition that is connected with my infancy and with my memories of the past. I have often spoken, also in interventions in Italian language, of the necessity to compose listening to the most beloved music, since in this way it is simpler to reach effects of harmony, fluency and legibility directly connected with my emotional and internal situation, considering that the whole my literary activity, started in the month of July of 1991, has always been accompanied by the presence of the music in function of support, with the purpose to improve the quality of the written poetry. As it regards these two poetries they are the result of different changes that I have also brought with the intent to check the lilt, also considering the necessity to give an outlet to what I have tried when I have written them. In data 11/11/2006 I have proposed on the site of the Norwegian newspaper Helgeland, using it as site of support, two new compositions, one in Italian and the relative translation in Danish language. The title of this composition is “Den sol e den formiddag” and this is the first my composition in such language, a language that I don't know. The composition so results to be simply a grammatical translation from Italian to Danish language without the possibility of applying the construction on the sound and the usual rules that are at the base of this technique. “ Quand un soupir invente une lumière” is my new composition in French in phase of application of the construction on the sound. It makes part of the first poetries built on the sound in such language. As I have made to notice in a precedent intervention and as also noticed by a French reader of one of the sites in which I propose all my adjournments, in this case the version not built on the sound, perhaps, results to be more legible and harmonica of the version in which I have applied the technique, also if I have to consider that , in the final part of this version, indicated like “autre version “, there is a drastic reduction of the speed and a sudden change of rhythm because of the use of the expression ” .. dan le chemin “; this part, in my opinion, it is not in harmony with the speed that I have given in the superior part all based on the search of the fluency. “Thank you for the music / New mornings in Sweden” represents an homage to the beauty of Sweden. The compositions have been written in few minutes and it needs to consider as both the versions in language English are built on the sound.of the sound and of the created image, with the presence besides of a sudden variation of the speed that is reached at the end of the sentence and with the use of only two words. The compositions that I have just described are been inserted on the site of reference in this last period. For this phase I also have to indicate the presence, on the Italian site of poetry “ Poesia Creativa “, of the connection with the present site of the BBC, together with the insertion of the site of reference and the site of the Montedit. In one of the last updatings of the site of reference I have used, as site of call, that of the French newspaper "Le Nouvels Observateur”, containing the version in French language of my recent poetry “La chanson de l’hirondelle “. **********************
http://www.bbc.co.uk/dna/mbarts/F2234233 In this period I have prepared and proposed in different sites some new compositions that now I comment. In date 29/9/2006, in evening, I have proposed a composition in only language English but consequential from translation, the title of this poetry is “ Wordplayer’s birthday” and it is devoted to the recurrence of the birthday of a reader and participant to the beautiful site of poetry of the BBC, on which I publish my comments. Also to write this composition I have used a song of support, composing it listening to the beautiful one "From now on" of Supertramp, in the version related to the live concert in Paris. In the central part of this song there is a moment of great atmosphere for the instrumental presence of the piano and the sax, and I have decided to write the poetry really in this musical moment. The composition has been proposed only on the BBC and not on the site of reference. Another composition of this period is the entitled one “ Il soffio della morente cantilena”. For this composition I have departed with the idea to write a poetry building it on the meaning and not applying, at least in general line, the construction on the sound but, as it often happens, the result has not been completely reached because, in particular way in the initial part, the composition visibly results conditioned by the lilt, element this that brings to the construction on the sound. The compositions built on the meaning would owe in fact to be freeeer and not fast. In the second part of the composition I have succeeded in checking the lilt and, also using the punctuation, I have come to an approach more conforming to the not application of the construction on the sound. The way and the road to reach compositions built on the meaning is determined by a less instinctive approach in writing compositions, with the necessity to check every single used word, exactly as done by the Italian poet Leopardi, with consequent reduction of the speed, control of the lilt and use of the punctuation to create a poetry only in apparently fast, for the presence of the rhythm. I have to admit that I love a lot this composition, written in few minutes. “Amours naissants” it is a brief poetry on purpose written for accompanying the poetry of the Italian poet Marco Saya. This author has been following my activity for various years, he knows the rules of my technique and besides he writes some beautiful poetries. In this case have been proposed, on the site of reference, two poetries, one translated in language English. “Romantic England” it is a personal homage to this marvelous earth that I have visited in the past years during my holidays in London and Oxford. A Nation that I love a lot for the presence of the singers artists that I repute the best in absolute for creativeness and imagination. A romantic land. ************* The first consideration to be done for this intervention concerns the publication of my new book, “Il presente del mio cuore “, published with the Italian editor Montedit. As described in the preface of this book, the compositions here proposed are been written partly in this period while another part concerns poetries written in the first years 90. When I publish a book I prefer to associate poetries written in different moments, in Italian language but also in other languages, with the application of the construction on the sound. I have proposed here compositions as Hey Jude, Let it be, Maybe I’m amazed and others different. The photo present in cover has been made in the beginning of the years 90. In date 14/10/2006 I have proposed on the site of reference the two poetries “Pensiero” and “As a tracing sun recalling the eternal”, both to be made to reenter in the typology of the “semplici /sentite”, with the composition in language English directly written in such language and without passing from translation ( that’s an “inglese diretta” ). The characteristic of these two compositions is that they have been written listening to the beautiful song of Kate Bush “Night of the swallow”, contained in the album “The Dreaming”; this song, in the initial part, introduces a considerable atmosphere and it is very creative, confirming the natural ability of the singer, that is mine feminine preferred. I have decided therefore to use this song as song of support and I have composed the two poetries. A composition that is not present on the site of reference but only on a special site is the poetry in Portuguese language “ O doce perfume em primavera”, unpublished composition that I have proposed only on the literary site of support of the Polish newspaper “ Polityca”; from the technical point of view I would speak of a poetry to consider as "sonetto in sperimentazione", with construction on the sound but also with a certain wish to the simple writing so that to make it legible and of simple translation. The composition has been written in few minutes and the version in Portuguese language is not built on the sound. “La chanson de l’hirondelle” is a poetry that I have recently written. After sometime it results me simpler to write and to build on the sound in French language, but I must however depart from a basic version for then to modify some terms so that to build the poetry on the sound. Particularly for this composition I have used in the initial part the term “ limpides”,” j’écoute” and “faible” that I have held more opportune to insert for the possibility to come to application of the technique, always considering the importance to check the lilt. In the final part of the composition I have preferred to use the word ”doucement”. “Odo il suo canto” is a composition that I have written the evening of October 21 and that is devoted to the victory of the Italian gymnast Vanessa Ferrari in the world championships of gymnastics in Denmark. In the final part of this poetry I have made a recall to Nadia Comaneci. The composition has been proposed only on the site of reference. “Little squirrels in St. James’s Park” represents and describes one memory of mine related to the beautiful landscape of England and to the presence of small squirrels inside the park set in the center of London. The atmosphere created by the natural landscape, with the presence of the brooks, of the flowers and of these little animals has pushed me to write a poetry just dedicated to that experience. ***************** I answer to both the interventions. As it happens for the others my poetries, also in this composition I have applied my technique, the construction on the sound. I think that the use of the Italian language brings to the best results of sound, and for this reason I believe that it’s necessary to learn the Italian language to appreciate my poetry. Dear Angelicwinnie, your observation is correct but you have to consider that the absence of a literal translation finds its meaning in demands of sound, in the sense that applying the technique I always look for the attainment of the expressive harmony. For this reason I have freely translated the express words. But I think that also the language English reaches good levels of sound, in fact I am always to the search of new terms that can play well. I love a lot the word “overcome”, for example. Besides I have to add that expressions as “ cotanto pe’ speme ‘n si’ florido amor” cannot be translated in English therefore it is necessary to learn the Italian language. I wanted to conclude saying that in the next days I will publish' a very important poetry and to which hold a lot. ******************** Max, Emma I have decided to devote a poetry to the memory of Grace Kelly, this was an idea that I had for a long time in my head. I have chosen a description of the day of her marriage, I have seen an image and I have tried to describe her, bringing the happiness and the austerity that I have noticed in her. The reference to the choice of life has brought me to write a certain type of poetry, not based only on the presence of the feeling, but also with the search of a rational aspect. This type of composition reenters in those that I call “ sonetto in sperimentazione con l’utilizzo di termini vari”, with the necessity to overcome the consequential conditioning from the lilt and, to the meantime, to build the composition on the sound. The free translation allows me to reach the wanted effects, and to the moment I succeed in making this only in language English and Italian. The role developed by the lilt, in my poetries, it is very important, but in certain moments, I try to overcome this formulation. Max, Mazann Your interventions allow me to speak of the role of the lilt to my poetry; the construction on the sound is a very immediate and instinctive technique, in the sense that the birth of the image is direct consequence of the transfer in poetry of my internal and sentimental condition. In all of my compositions the thing most important is represented by the feeling, or better from the ability to transfer the feeling inside the poetry, in this sense it is not correct to speak of game of words in how much without the presence of the feeling the compositions would not be so flowing. In the moment in which I build on the sound I literally tie me to the lilt, that is I build on the lilt, and this is in hold connection with the immediate nature of the poetries, that is a kind of necessity. Then I write the poetries building her on the lilt and this is the typical and initial scheme of the compositions. There are evidently moments in which I have the necessity to overcome this formulation, and when I do this I introduce other types of composition. Pour répondre à cette considération je dois faire une déclaration précise. Quand j'écris en italien ou en anglais j'écris dans langues que je sais, j'ai étudié la langue depuis petit et donc je réussis par écrit dans langue anglais : dans ce chemin je peux appliquer ma technique, la construction sur le son, avec la recherche du fluence et l'harmonie expressive. Quand j'écris au lieu en français ceci il ne me trouve pas possible parce que je ne sais pas cette langue ( j'écris ces notes avec l'aide d'un traducteur ), et donc' les poésies dans langue française sont plutôt froides et sans la sensation, dans combien je ne suis pas capable de transférer avec les mots ma situation émotive, juste parce que je ne sais pas la langue. Si je savais la langue française les poésies ils seraient plus beaux, parce que je ferais comme je fais dans langue anglais. Alors apprécier dans chemin plein mes compositions les deux langues convenables sont la langue anglais et italien. Dans le futur j'atteindrai les mêmes résultats dans langue française. Intervento su France 2 ******************** À l'origine je vous remercie pour les interventions. La composition intitulée Let it be réponses à un précis demande que j'aie essayé d'atteindre : dans cette poésie en fait je j'ai essayé de créer un développement progressif de la composition, avec trois versions qui sont menées à bonne fin à l'acquisition du dernier version, plus complet des autres deux Exactement comme dans une chanson, avec la présence au commencement de la seule voix, pour alors venir à une version complète et avec la présence de tous les outils musicaux, afin qu'atteindre l'harmonie complète de la poésie. Cela a été l'idée qui m'a amené à proposer 3 versions, même si chaque a de certain une propre individualité. J'ai essayé d'expliquer aussi ceci en Angleterre, sur une intervention qui ici je propose à intégration de ma réponse. Intervento su France 2 ******************** In “ Hopelessly devoted to you ” i would have liked to insert in the composition various important elements, as for example the reference to the wind, to the water, to the white suit and the gilded hair but, in the moment in which I have written the poetry I have had to make a selection among different components. A further image that I have not inserted is represented by the break served as the actress on the staircase, as the presence of the small lights. In answer to your observation, using the term " fragile" I have tried to represent the state of mind of the singer, and in this sense, in this specific case, me indeed I have overcome the rules of base of the construction on the sound reaching the real description of internal situation. In the version in language English I have preferred to insert, in the central part, the term " unhappy" for the same reason. In this phase I have used the binding to the lilt to make the flowing composition in sight of the two points of punctuation, creating therefore a contrast from the point of view of the speed . The composition is built on the sound and it reenters in the typology of the “ semplice descrittiva in forma propria”. ******************** In the moment in which I write I am applying my technique, the construction on the sound. Necessity to come to an interpretation of that I write is connatural to the application of the same technique, in fact the search of the harmony and the fluidity brings me to the construction of the images in the respect of such criterions. For the same reason the translations that I serve as Italian to English are free, especially for the meaning, that is the images are built by the game of the sounds, I would say from the light of the sounds. It always considers that the purpose that I set me when I build on the sound is determined by the emersion of the image. I describe the image building it on the sound. As it regards the story of this poetry, to the beginning the title was " Norway in love", then I have changed the title in "Norwegian wood”. ******************** For the composition of this new poetry, ”Jesus”, I have imagined in my mind a serene and blessed face, then I have simply described the image that I have seen in front of me, with long black hair and a calm look. Additionally to this I have thought to make reference to important moments of the life of Jesus, the moment of the preaching, that of the contact with the believers, a certain description of elements of the nature, in relationship to his prayer. In the final part instead the idea of the faith of the Christians is described as an intense light, here I have thought about also considering the idea of the introspection, that is of the contact with the Divinity. The translation in language English is less conditioned by the presence of the lilt in comparison to that Italian. In this specific sense it extends to estrange from the rigid scheme of the construction on the sound in narrow sense, to slightly come to a freeeer formulation. ******************** In this composition the thing that more has pushed me to make a description of this kind has been the love for a music that I have been knowing for a long time, an interpretation done in the brightness and in the harmony of an environment full of atmosphere, the colored lights that have introduced the voice of Linda, the double voice present already in a precedent interpretation and with other singer, the attention of the stage and the spellbound people. The idea, in reality, was to write a composition that united two different images related to two different songs, but, during the layout, I have preferred to separate the two things, therefore to describe what I have seen in that interpretation and to prepare another poetry, devoted to the composition of the final part of the Concert. I have very appreciated the interpretation of Linda, so I have decided to make a direct reference. From the formal point of view, in the final part of the poetry I had used to the beginning the term "emotion", then, with the purpose to make the composition free from the lilt, I have introduced the word " flame". ******************** In this case I have imagined to write a composition listening to the notes of a pleasant and melodious song, an harmony that inspires me in the description of images built on the sound and deriving directly from my sensibility. The free translation from the Italian language to that English has brought me to apply the technique with the search of a certain diminution of the speed, thing this in contrast with the rigid application of the construction on the sound. The objective of such reduction has partially been reached, particularly, in the second version in language English, in the part in which, close to the use of the punctuations, I have inserted the term “sunshine” for then to immediately take back with the usual speed, typical of my technique. The final part of this second version in English results rather conditioned by the lilt, and in this part I have simply sought the expressive harmony. In parallel with a composition recently written, "Jesus", the control of the lilt has been less wanted resulting the version of “Jesus” preferable, in my opinion. I have decided besides to devote "Indian sunset" to the images and the thoughtlessness of the youth, setting the description of a bird in the context of images coming from the nature, with a moment of internal introspection that mirrors the state of mind of a being in contact with the outward appearance. In such description I have preferred the use of the third person, also for reasons of sound. ******************** “Sandy” is the second composition devoted to the same subject, portrait in two different moments but both important ones; here I have described the actress as her it appears in the final part of the scene, and the element that more has attracted me of this phase is represented by the calls of the image to the youth. Sandy, in this sense, is the image of the juvenile purity, of the thoughtlessness and of the ability to face things without fear or prejudice, with a reference to the sense of liberty and joy. Idea has been besides that to describe the ability to transmit these feelings to another person, surprised and attracted by the beauty of Sandy: the thought and the happiness of the singer that it spreads reaching every aspect of the nature. From the formal point of view in this composition I have tried to check the effect of the lilt reaching levels of harmony similar to the preceding entitled composition “Jesus”; the ability to do this doesn't depend only on me but, particularly, it is the representation of the state of mind present in me when I write: sometimes in fact the compositions result less checked by this point of view also because the author doesn't reach completely his intent, and the same beauty of the poetry depends on this. The part that has me busier is that final from the moment that I have decided to use the term "feast" that initially I had not considered: the final choice has been determined by the wish to give weight to the factor of contrast, in this case with the term "song", while I was drawing near me to the conclusion of the poetry, in the part is in which is important to come to effects of expressive harmony. ******************** In “ Hey Jude “ I have faced the theme of the sensitivity, as already happened in other compositions, a matter regarding particular situations as the nocturnal visions, the dawning emotions in the heart of the night, the revealing dreams full of meanings, situations that fascinate me. In the past I have also treated similar matters in an entitled story “Due eventi nel cuor della notte”, present and already published in Internet in the site of Montedit. In the initial part of the composition I have made a reference to the suffering of the youth, with reference to the subject that has appeared me, an image for me so important and for a long time present in my heart. The presence and the apparition in the final part of the composition represent the idea of the eternal feeling and of the contact with the supernatural reality, in an atmosphere created from the low lights and from a something magic present in the room. With the final words I have preferred to make a general reference to all the men, so that the spirit appeared in reality talks to everybody, without any distinction. Under the formal profile, as it regards the version in language English, I have taken care of the final part so that to reach the end with a slow rhythm, this to have some favorable effects of image and sound to introduce the words of John: maintaining a balanced language and without extreme passages. In the version in Italian I have thought about bringing the words in language English to give more strength to the presence of the spirit. ******************** In this composition, “ Strange Phenomena ”, I have made a description of an event happened on the notes of a beautiful song, a fact drawn from the imagination and from the contact with a particular reality. The image concerns a sensorial that allows to a person to put on in contact with a supernatural entity: there is therefore the presence of a coin that is dragged on the wood of a door, , then the prodigy to wander in the air without any support, and the conclusion of this consistent emotional fact in the hand of the actress that cries for the emotion provoked by this so strange event. A very human weeping present on the face of the actress that describes the surprise to face things that appear impossible or without any explanation. As it regards the formal aspect in this poetry, differently from those that have preceded it, I have written the version in Italian language with a particular grammatical construction in comparison to other times, a more complex formality; but in this way, when I am passed to the translation in English, I have had some difficulties of literal translation so I have preferred therefore to make a free translation, and this is the motive for a certain discord of translation in comparison to the native text . The presence of Sam and the light of the smile represent the prevalence and priority of love in any circumstance. ******************** I have written this new composition, “Evaristo’s seasons” devoting it to an important Italian football-player of the eighties, Evaristo Beccalossi, so that to describe the ability and the imagination to invent always something new. The composition, that accompanies the beginning of the world championships of soccer in Germany, has also been written remembering and keeping in mind the situation of present difficulty of Italian football. In the version in Italian language I have preferred to maintain an instinctive and direct formulation, exactly bringing the composition as it results from my internal and emotional situation, while in the two versions in language English I have used a free translation and only partly tied up to the version in Italian. An important thing to be considered is that all of my compositions are application of my technique, “the construction on the sound”, and only in this way certain formulations of form and language can be explained also when they goes over the usual linguistic constructions: I love a lot to diversify, to change, to try new poetic techniques. I proceed in free way and without formal conditioning and this it allows me to touch different levels of poetical composition. ******************** I have decided, for the updating on the site of reference, to propose two different compositions, “ Junk ” and “ Woman is the nigger of the world ”. My idea, in reality, actually to this morning, it was that to propose only “ Junk ” in 3 versions one in Italian and two in English, and this composition has been written some days ago waiting for the arrival of this day. The two poetries have in common the fact of being both built on the sound, the difference is in the fact that “ Woman is the nigger of the world ” represents a way to bring the application of my technique to the extreme from the point of view of the search of the fluency, exactly as I am usual to do for the compositions that I identify as "flowing"( of the ways according to which the technique comes to of the effects perfectly in line with its nature and with the formalities with which it was born). In this period I am writing various poetries and a project that I have in mind it is that to propose a composition devoting it to the redaction of an Italian magazine of poetries, “Pagine”, a newspaper of poetry that has contribution to spread my compositions also in the years 90. The idea, even if then to the opportune moment I will expose it with more precision, is that to write a composition that draws near to a form built on the meaning, with consequent reduction of the speed and search of the atmosphere, giving priority to the use of hard terms ( letters as the c, p,r,t,g ). I will also write the version in language English, following her same rules. ******************** As I have written on the site of reference, the site in which the composition has been proposed, I have decided to devote this new poetry to the actress and singer Olivia Newton-John. The choice has also been determined by a series of elements connected to the development of the literary activity of the last months, considering the ability of the singer and the cleverness from the point of view of the interpretation, an actress who I appreciate a lot and that has inspired me in the birth of various compositions. “Magic” is in effects a particular composition because it remembers, as it structures formal, the characteristics present in another my poetry written in 1993, in a place of mountain, while it was beginning to snow, “Sito del primier idillio”. In both cases, seeking the fluidity and the harmony of a natural landscape, I have made a description of the nature and the beauties present in it. An important thing to be considered is that when I wrote the poetry in mountain the presence of the great cold influenced my emotional situation determining a very flowing and harmonious sound, and this is a characteristic of the poetries written under particular environmental conditions, the poetries result very flat. I often create some particular conditions to improve the sound. In relation to the other poetries proposed in this period on the site of reference, “Stagioni d’eterno” is devoted to a friend of infancy that is dead in the last days, I think has been correct to remember him with a poetry written in the same days when I have learned the new. “Esprit d’Italie” is one typical composition of mine as that I identify like “dantesca/descrittiva”, with the use of the parameters that serve to increase the speed making the composition very slender and vivacious. Next week I will publish the poetry devoted to the conclusion of the World Championship of soccer, it is an important poetry also for the title. I will propose it here and in Brazil. . ******************** As I had anticipated I have written the poetry devoted to the conclusion of the world championships of soccer in Germany. In this poetry I have tried to reduce the speed and this has been possible with two expedients: on one side building the composition on the meaning and not on the sound, on the other side using hard terms. From the temporal point of view the tendency not to apply the rules of base of the construction on the sound, building the poetry instead on the meaning, is initiated in the year 2002 in the attempt to reach new solutions after the birth of the various typologies of poetries built on the sound, born in 1991. Since then I contemporarily build on the sound or on the meaning, even if my native technique is the construction on the sound. The correct application of a composition built on the meaning asks for a approach completely different from that I use to build on the sound. In my mind I have to face the thing with a different mental formulation since primarily I am looking for the image, and contemporarily I have to limit the speed to reach certain effects. In the proposed composition, “ Maybe I’m amazed ” the part that, in the version in Italian language, has hocked me a lot, is that in which I say “si trasforma nel suono”. Originally in fact I had inserted the term “ chiarore” instead of “suono”, but then I have decided to change since there were too assonances as “dolore, candore, fiore..”, so I have inserted therefore a different term even if, perhaps, not completely suitable. In the version in language English, as preannounced, I have used a lot of hard terms. The composition, in reality, represents the wish and the hope for the victory of Italy to the world championship of soccer . ******************** Dear friends, in the composition that I have written and published yesterday there is a precise wish, and that is to create a certain continuity among the composition regarding the beginning of the World Championships of soccer, “ Evaristo’s seasons ” , and the composition that instead marks the conclusion of the games, “ The gratest discovery “. These two poetries in fact are very similar from the moment that both reenter in the category that I identify as “ flowing”, compositions built on the sound with particular search of the fluidity. The effect of the continuity has been reached besides with the use, in the conclusive part of both the poetries, of the term “dipinge”, word that I have on purpose used for creating this kind of effect . I have written the composition yesterday afternoon even if, in reality, I thought about publishing later to a few days the updating. In relation to the poetries written in this period, I communicate that in date 6/7/2006, I have proposed on the literary site of the German newspaper Freie Presse a composition devoted to the German people and connected to the disappointment of these days. The composition, in German language, has been proposed only on that site and this is the first time I give communication of this. ******************** This new poetry, "Sailing", individualizes one of the two formalities with which I write in language English, directly writing the composition in this language without passing from the translation from Italian. In this way I have the possibility to reach the best fluidity in how much I adopt the same instinctive approach that I have when I write in Italian, with the result to apply completely the construction on the sound. In the last days I have written and proposed on the site of reference an important composition, “La rose desolee’”, a poetry with which I begin to write and to publish poetries in French language built on the sound. At the moment the application of the construction on the sound in these two languages, English and French, happens in different way: in fact when I write in English the composition generally results from translation, that is I translate in English a text in Italian and I apply the construction on the sound. When I write in French instead I already have a translation in French language and my assignment it is that to change some words so that to reach the application of the technique. Then there are two different formulations and determined from the conditions in which I am in the attempt to apply the technique. Considering that I know few French. In this period I have believed that is necessary to begin writing in French, even if with difficulty, considering that my poetries are appreciated in France. In specific way and considering the proposed poetry, the attempt to reach the effects of the construction on the sound has been done using the word "fragile" instead of “decue” and the word “timide” instead of “triste”. Then I have decided to put the word “avancer” instead of the expression “pour divaguer”. In the final part of the composition I have removed the word “il “for demands of sound. I have already prepared other poetry built on the sound in French, I try to take the habit to compose as I do for the poetries in English. ******************** The importance of this new poetry, “When a blackbird arises”, proposed in one version in Italian and double version in language English, is that all the compositions are built on the meaning. When I build on the meaning my intention is to forget the construction on the sound, that is to get further me, even though for a composition, from the typical scheme with which all of my poetries are born; evidently all this happens in line of pure intention from the moment that my poetic is always influenced by the construction on the sound. So, the new technique of the construction on the sense implicates that I make a description of that appears me in the mind, that is of the image that I have inside of me not trying to build it through the sound, but really looking for describing what I see, the colour of the hill, the profile of the landscape, the beam of light as I see them. When I speak of construction on the meaning I speak of what has always been done in literature, as the element of innovation, from the point of view of the compositive approach , is represented by the construction on the sound, that in fact takes a completely inverse run. When I build on the meaning I have besides to decrease the speed, to increase the punctuation, to use hard terms, to check and to limit the lilt ( that is what I don't do building on the sound ), and inside of me I consider entirely these two formalities as opposite. In this sense, and as I have in passed writing in Italy, I consider the Leopardi as the author that, from the formal point of view, it is the most distant to me, the construction on the sound and the technical of Leopardi are completely opposite. I communicate besides that in the next days I will publish important compositions ******************** In date 24/7/2006 I was in mountain, in the pine wood of Druogno, returned in the valley after a long time. I had decided to write a poetry considering the elevated emotional predisposition determined by the novelty of the return, so, on a very calm environment and in the silence of an afternoon of July, I have approached on the benches of a barn, nearby to a lawn, while it was beginning a light rain. In front of me I have noticed the presence of a group of falling leaves, and they gave the impression of the tiredness and the death of the nature, for the position but also for the faded colour. Listening to the notes of a beautiful song ( used for improving the internal condition and therefore the quality of the sound ) I have begun to write. Idea was that to write a composition built on the meaning but, as it often happens, during the layout I have begun to apply the construction on the sound. In reality I have written, in about 20 minutes, two versions only in Italian language, then, in one of these days, I have written the version in language English. I have not found any difficulty to write the compositions and the contrast among the use of the two techniques is present in clear way in the sentence of opening: in the second version, in fact, I have given priority to the construction on the sound. Both the versions in Italian language are been written listening to the very beautiful song “Watching the wheels” of John Lennon. ******************** The composition "All the girls love Alice" represents, in the version in Italian language, an example of composition built on the sound that re-enters in the typology of the “flowing” poetries, a way to apply in way extreme such technique. The poetry is a description of pure imagination and it doesn't make reference to some existing or determined subject. In relation to the compositions that I have proposed in this period, and not only on the site of reference, a first consideration concerns the poetry “La lumière ancienne de la nouvelle saison”. The beginning of the systematic application of the construction on the sound in French language is marked by this composition recently written. I have already described in precedence the formality that I have to use for coming to a poetry in French language with application of the technique, and it deals with a series of passages and controls more complicated than that happens for the poetries in language English; in the poetries in object particularly I have built on the sound in the first version, while the second version represents, in great lines, the version of base used for the necessary change to reach the application of the technique. In this way, in the first version the words that have allowed me to build on the sound are "nouvelle melodies", "le silences" and "dècrit". In the last updating of the site of reference I have inserted, as site of call, the forum of poetry of the Spanish newspaper Abc, not only for the importance that this newspaper will have for my poetry, but also for the presence of an unpublished composition proposed only on that site in date 30/7/2006 and entitled “Odo un canto provenir dal sole “, that has to be considered like “sonetto in sperimentazione con utilizzo di termini vari”. In last analysis the entitled poetry “Raffaella”. During my recent holidays in mountain, and in the same days in which I have written "D’amato ritorno", I have decided to write a poetry devoted to Raffaella, a composition with some particularities for the temporal divergence present between the first one and the second period; in fact only the second period has been written in mountain, while the first one has been adapted and subsequently written. In the first period I have tried to diversify the sounds and the letters used so that such contrast brought harmony and fluency. ******************** “New springs in Malibu” is another of the compositions directly built on the sound, without passing from translation, that is without using the normal formality of application of the technique that I utilize for the compositions in language English. The characteristic of this poetry is that it has been written listening to the song “Indian sunset” of E. John, one of the songs of this artist that I prefer. When I build on the sound is preferable to write listening to music because, in this way, the compositions result more flowing and harmonicas, describing the favourable emotional situation in me present. The composition is an homage to Malibu, to its beaches and its natural beauty. Coming to the compositions proposed in this period, and not only on the site of reference, a first consideration concerns the poetry, in double version, entitled “Suadente nel sole”. In 1992 during the month of July, I was at Saint Maria Maggiore, and I was concluding my first year of literary production, the most important of my literary activity; in that years the months of June and July were devoted to the production of poetries identified as "idylls", and in these compositions I tried to overcome the consequential conditioning from the presence of the lilt to reach simple and legible poetries. The first version has been written in the first afternoon and in date 21/7/1992, while in the second I have tried to slightly make the more flowing poetry. In date 17/8/2006 I have proposed, on the site of support Vida Ribatejana, and in the relative literary site of the Portuguese newspaper, a short and unpublished entitled composition "O camino da vida", in Portuguese language. “Oui, je suis” is a poetry built on the sound in French language. In reality only the first version is built on the sound, while the second is the basic version, not built on the sound, and that then I modify for reaching the application of the technique. The terms that I have introduced, in comparison to the basic version, in the intent to build on the sound, are "musique", "evident", " retournent " and "poem". The final phrase, also not being very in line with the fluency of the part that precedes it, has been maintained because it creates a certain contrast, that determines a more variegated composition however. ****************** In the last months I have proposed on some sites, and also on that of France 2, the entitled composition “Hopelessly devoted to you”. A reader of the French site, Terence S., has translated this composition in French language in a moment in which I had not begun the systematic publication of poetries in French from me composed . I have appreciated a lot this thing but also the quality of his translation, very regular and legible. At the end of the month of August, thinking about the new poetry in French to propose, I have decided to intervene on the translation of Terence and to propose one version of mine in the same language. As it is possible to notice reading the two versions, my version is different only for the phrase “sur une feuille de papier “ and also for the use of the term “ intime”, and these are the only two changes that I have brought to the native version of Terence. In all sincerity I don't know if it is better my version in comparison to his, I think in reality that they are on the same level, and I have tried only to slightly make the more flowing poetry, owing, for this motive, to sacrifice, the reference to the colour of the sheet of paper. A brief consideration on the use of the French language brings me to say that this language is very predisposed for the poetry and in fact, to difference that in Italian and in English, I have noticed as the native versions in French, not being also built on the sound, are very valid from the literary point of view. In some cases, when I compose in French, I change only few terms from the native version since the poetry results very legible from simple literal translation, and this, according to my opinion, is an inherent characteristic of French language, a strength of it. Coming to the other poetries proposed in this period on the site of reference a sign must have done for the poetry “Dolce fronda di quiete”. The composition renters in the typology of the poetries “semplici /sentite”, spontaneous compositions and build on the sound. The characteristic of this poetry is that it has been written listening to the song " It’s getting dark in here ” of E. John. The poetry is dedicated to the memory of Steve Irwin. In last analysis regarding the new poetry in English “ Like a sound in the cold ”. Also being the same consequential from translation, and not having directly been written in English, in this poetry I have tried to insert the feeling and to make it flowing and felt. The result has also been reached with the use of the term “ as “ that I have preferred to the term “ like” for reasons for sound.

A brief consideration on the use of the French language brings me to say that this language is very predisposed for the poetry and in fact, to difference that in Italian and in English, I have noticed as the native versions in French, not being also built on the sound, are very valid from the literary point of view. In some cases, when I compose in French, I change only few terms from the native version since the poetry results very legible from simple literal translation, and this, according to my opinion, is an inherent characteristic of French language, a strength of it.

Coming to the other poetries proposed in this period on the site of reference a sign must have done for the poetry “Dolce fronda di quiete”. The composition renters in the typology of the poetries “semplici /sentite”, spontaneous compositions and build on the sound. The characteristic of this poetry is that it has been written listening to the song " It’s getting dark in here ” of E. John.

In last analysis regarding the new poetry in English “ Like a sound in the cold ”. Also being the same consequential from translation, and not having directly been written in English, in this poetry I have tried to insert the feeling and to make it flowing and felt. The result has also been reached with the use of the term “ as “ that I have preferred to the term “ like” for reasons for sound.