Archive for 31 31+00:00 enero 31+00:00 2008

Pi de la Serra: «A pray»


Francesc Pi de la Serra, also called frequently Quico, is maybe the most imaginative and satirical Spanish songwriter in Catalan language. He was one of the younger first members of the Catalans songwriters collective Els Setze Jutges. With a poetry very inspired on French songwriters, specially Georges Brassens, Quico’s music is very progressive and imaginative: his first LP was recorded with jazz music. Later he introduced in Spain a more actual music during the 70s. His words have been definite as bittersweet, making parodies about politic, high and middle class, relating events that were happening in the 70s, but also tremendously serious songs.
This song belongs to the LP  that he recorded with Balear songwriter María del Mar Bonet, Quico i María del Mar. This is a very satirical and funny song: Spain, traditionally, has been a very religious country. Priests and nuns has been always the persons in charge of teachers, always watching for national morality. Since Franco’s victory in the year 1939, priests and very religious people (as the so known Opus Dei) get powers in many fields, censorship specially; the francoist regime practiced the thesis of the national-catholicism: the union of church and state (under Franco, of course), which is considerate by them as a sacred and eternal union. This song ridicules the integrism of the Spanish catholic church. The song is very difficult, so see the notes for better understanding:

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Oració

Aquesta és la història d’un escapulari,
d’una sagristia i d’un vell rosari,
d’una avemaria de sotanes negres,
confessions i hòsties, missal i quaresmes,
de déu i sa mare, de l’esperit sant,
oficis, litúrgies i cristos sagnant,
d’una temporada de la nostra vida
la de qualsevol que és parit i crida,
quan neix el bategen, confirmen, fuetegen,
sisè manament, el trempar és dolent,
hi ha gula o hi ha gana, peresa o desgana.


Déu! eh que tu em perdones al confessional
penitència dura que faci molt mal.
Sóc, no vull ofendre, anticlerical.

Al Mediterrani es ballen sardanes
em mires et miro esperances vanes
i a les rodalies monten confraries
per arrambar l’api a les abadies,
Sant Jordi torero mata el drac esquerp,
la verge si es verge trepitja la serp,
té cua el dimoni, vigila, vigila,
la monja més vella tranquil·la fa fila
soleta perduda dintre del convent,
a la superiora ha fet testament
que és súper i ora per no anar a l’infern.


Déu! eh que tu em perdones al confessional
penitència dura que faci molt mal.
Sóc, no vull ofendre, anticlerical.

Dintre una establia ha nascut tot sol
és l’Epifania campanes al vol,
els reis del petroli ja han arribat
però n’hi ha un que és negre i va descordat,
després via crucis el varen clavar,
Sant Llàtzer aixeca’t ja pots caminar,
clausura, el torn gira, silicis tonsura
el dimoni et tempta com llaminadura
en forma de dona, en forma de llop,
toca la viola la violonada
la monja somica ja l’han violada.

Déu! eh que actualitzes el cerimonial
perquè si no et quedes sense personal,
potser és culpa teva
si tot ho manegues,
i tot ho vigiles,
i em deixes que sigui anticlerical.

A pray

This is the story of a scapular,/ of a sacristy and of an old rosary,/ of a black cassocks avemaria,/ confessions and wafers, mass and lents,/ of God and his Mother, of the Holly Ghost,/ of church services, liturgies and bleeding Christs/ of a time of our lifes,/ of anybody’s who was given birth and shouts,/ when he borns they baptize him, confirm him, slap him (1),/ sixth commandment, to get an erection is wrong (2),/ there’s gluttony or there’s hunger, laziness or half-heartness.// God! Hey, forgive at the confessional/ hard penitence that hurts me./ I am, don’t want to offend, anti-clerical.// At the Mediterranean it’s dancing sardanas (3),/ I look to you, you look to me, vain hopes/ and in the vicinities they make fraternities/ for catch the celery in the abbeys,/ Saint George (4) torero kills the unfriendly dragon,/ the Virgin if she is virgin step on the snake,/ the devil has tail, watch out, watch out,/ the oldest nun stand in line quietly/ alone lost inside the convent,/ has made will to Mother Superior/ who is super and prays (5) for not to go to hell.// God!…// In a stable he has born all alone,/ that’s the Epiphany the bells are ringing/ kings of petroleum have already arrive/ but there’s one who is black and goes separated,/ later via crucis they sticked him,/ Saint Lazare get up you can already walk,/ closure, the winch turns (6), spiked-belts, tonsure,/ the devils entices you like candies,/ under the shape of a woman, under the shape of a wolf,/ play the viola, the "violonada" (7),/ the nun sobs they already raped her.// God! Update the ceremonial/ because if not you will end without personal,/ maybe that’s your fault/ if you handle everything/ and watch everything/ and let me to be anti-clerical.

Pi de la Serra

(1) as the catholics know, confirmation is a sacrament whose ritual consists in a gentle slap on the cheek given by the priest.
(2) Quico use the word "trempar" (Sp. "empinar"), which is a popular vulgarity way of saying "to have an erection".
(3) "Sardana" is a kind of popular Catalan dance.
(4) St. George (Sant Jordi in Catalan) is the Holly Patron of Catalonia.
(5) An untranslatable phonetic word-game: "La Mare superiora que és súper-i-ora"
(6) High classes ladies, as old as young maidens, when they have not-wished pregnancies, left their children on the convents winches.
(7) Another impossible game of words between the word "viola" (musical instrument) and "violada" (to be raped).

La Nova Cançó Catalana (New
Catalan Song) was a very important songwriter movement that pretended,
making of Catalan their expression way, preserve and vindicate the
language of Catalonia. Teresa Rebull, a Civil War exhiled, was the forerunner, but singer Raimon was the real beginner. The movement, principally, had two differents tendences: Els Setze Jutges (Sixteen Judges), inspired by French songwriters, and El Grup de Folk
(Folk Group), North-American folk-singers inspiration. Jutges were more
worried about Catalan poetry and refused to use Catalonia’s folklore
due to the populist use that the dictatorship was making with every
Spanish folklore; but Grup de Folk like to combine old Catalans songs
with North-American folk-songs. But in the beginnings of 70s, both were
disolved, but the movement stood. New Catalan Song was imitated by
others regional songwriters movement, borning in this way the New Songs
from Basque Country, Castilia, Galicia, Andalucia… Some of the names
of this movements are songwriters as Raimon,
Lluís Llach, María del Mar Bonet, Pau Riba, Marina Rossell, Joan Manuel
Serrat, Albert Batiste, Pi de la Serra, Ovidi Montllor;
folk-groups as Al Tall and UC; folk-rock groups as Falsterbo 3 and Esquirols; and progresive and psychedelic rock bands as Companya Elèctrica Dharma or Maquina!… among others. 

Els Setze Jutges (Sixteen Judges) was a Catalan songwriters collective, founded by Delfí Abella, Miquel Porter and Josep Mª Espinàs, among others, for vindicate language and
poetry of the so called Països Catalans (Catalan Countries): the lands,
in Spain, Andorra and France, where Catalan is talked, with an antifrancoist
spirit. They decided to use French songwriters’ music, specially
Georges Brassens, and no Catalan folklore, because the regime was using
it for demonstrate his power over all the Spanish lands. Between them,
were future important artists as Joan Manuel Serrat, María del Mar Bonet and her brother Joan Ramón, Rafael Subirachs, Guillermina Motta, Francesc Pi de la Serra, and the last in come in, Lluís Llach, and others until complete 16. Songwriter Raimon, in despite the generally believing, was not a part of the collective, but he collaborated with them.

A la atención de Jordina 2. RE: «El burro i l’àguila»


Aunque ya respondí a tu pregunta -que no sé si has leído porque ya te dije que no puedo contactar contigo-, al hablar con una persona que es toda una especialista en estos temas, me confirmó que, efectivamente, la canción habla sobre Franco y sobre el actual rey. Aunque no te podría precisar cuál es cuál, pienso que el burro es d. Juan Carlos y el águila Franco; pero si hacemos caso a la denominación "real" del águila, pues sin ninguna duda, debe tratarse del rey.
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