Charitas Christi eng
On the feast of Saint Francis of Paola, we rediscover—on the day of his death and heavenly birth—a work that recounts his story. Part of the inspiration for this project certainly comes from Branduardi and De André, yet there is much more than mere sonic references, and not only because of the weighty title. The opener tells of the time when the young Francis, gravely ill, was healed thanks to a vow his parents made to Saint Francis of Assisi. His life therefore began under the sign of a consecration which, as fate would have it, became not temporary but eternal. The change of rhythm in the middle of the piece marks precisely that turning point in the saint’s story. The following track, “Fragili esacordi” (“Fragile Chords”), narrates the period when Francis first felt the vocation God placed in his heart. This calling passed through an awareness of the futility and vanity of earthly things. The chord progression recalls, at times, the Ligurian minstrel with his evergreen leaps, so perfectly expressing the fragility of the present moment and the unpredictability of time’s unfolding. Francis is known above all for his choice of a cenobitic and eremitic life. From this practice came the Rule that, for more than 500 years, has guided the friars of the Minim order in their seaside monastery. “Quanto in deserto” (“As in the Desert”) tells of this life and of its trials, including the threat of falling rocks. The song paraphrases the words spoken by the saint to avert disaster: “Stop, for charity’s sake!” …and the rocks miraculously remained still. Not by chance, this is the most profound and introspective track, its intensity carried both by Minervino’s voice and Bortone’s fierce guitar finale. It would be a mistake to believe that a life dedicated to meditation is static, rigid, or monotonous. Far from repetitive, the saint’s life was an endless succession of events, stories, battles, challenges, surprises, and constant searching. This variety is well expressed in “Si destò dal sonno” (“He Awoke from Sleep”), where intriguing electronic elements, woven into a strongly folk and flowing backdrop, converge into a carefully blended unicum. The piece “Messer Coloso” (“Sir Coloso”) is dedicated to the man who made possible the saint’s greatest miracle: crossing the Strait of Messina on his cloak. Pietro Coloso refused to ferry him, thus enabling divine intervention and Francis’ recognition as Protector of seafarers. The dialogue is slow and deliberate, the melody resembling the waves of the sea that bore witness to the event. Destiny brought Francis to France, where he would spend 25 years of his life and where he would die. His journey, recounted in “Venne il febbraio” (“February Came”), is portrayed with urgency and a pleasant musical flow. The two friars with him—Otranto and Cropalati—were welcomed joyfully through the streets of Naples, while Francis never failed to invoke Nomine Iddio and call everyone to true life. This exaltation culminates in “Come il vento” (“Like the Wind”), where the saint’s vocation to humility is heightened by the story of his meeting with King Louis XI who, gravely ill, knelt before him. The work closes with “Amore che nasci” (“Love That is Born”), a more modern track with indie-pop touches, filled with constant appeals to conversion of the heart, whether to king or pauper alike. Musically, the record remains firmly rooted in a medieval/folk framework, never straying too far. One might say that a livelier track or two could have lightened the tone without diminishing the seriousness of the text. In conclusion, we can only hope this tribute will be well received, despite the limited means of the time, and that the saint, from above, will not fail to grant a benevolent prayer for those who remain to remember what happened among those silver-colored hills.