©1992-2001 The Living. Net
In Dal loggione (1979) the spectator of a performance,
most probably an opera, narrates from the gallery of his unrequited love
for the woman he observes down below in the company of her husband. The
chorus of this piece is charged with pathos as the lover, while sharing
Conte's typical sense of self-mockery, abandons himself in his declaiming
to the sublime power of the music as it "flows into the soul" of his beloved.
In the very same instant it becomes both the overpowering soundtrack to
his feelings while giving a kind of cathartic relief from his anguish.
"E allora viva la musica che ti va/ fin dentro all'anima, che ti va/ penso
di credere che finirò/ sempre di vivere di te…/para-punzi-punzi-pun, para
punzi para-para-punzi-pun" (And
so hurrah for the music that goes to you deep into your soul, that goes
to you I think that I believe that I will end up always living of you
2.4 "Gusto cinematico"
One of the consequences of this process is a stylised and stereotyped feel that gives many of his songs a peculiarly cinematic flavour, in the sense that the music revels in a certain theatricality drawing on all kinds of sources for its scenic effects. By no coincidence film scores themselves have a tradition of crossing all musical boundaries in order to borrow what most suits them and Conte is himself a theatre and film soundtrack composer. In an off the cuff interview, he touched on this aspect of his work: