1. BALLATA 2. NINA D'AMOR ME CONSUMO 3. E MI ME NE SO 'NDAOCanzone 4. EL GONDOLIER 5. LI CHEVALERS 6. VECIO PARLAR 7. BONDI' VENEZIA CARA! 8. ANZOLETA AVANTI LA REGATA 9. ANZOLETA CO PASSA LA REGATA 10.ANZOLETA DOPO LA REGATA 11.SOPRA L'ACQUA INDORMENSADA 12.IN SANDOLO 13.SEMO A LA RIVA 14.QUEI OCI ME FA GUERA 15.VECIO PARLAR

 E mi me ne so 'ndao [MP3] (2.13 min / 352Kb)

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VENEXIA DE ORO is an imaginary, autobiographical route, through music, in search of Veneto roots and that cultural mosaic with which Venice has managed to live at the same time. E mi me ne so 'ndao (And I Went Away): a very old song from the oral tradition which probably goes back to the Middle Ages.
Li chevalers (The Knights): the text takes its inspiration from Franco-Veneto, a language spoken in the whole of the Veneto in the Early Middle Ages, a mixture of the language spoken by the Franc knights and Veneto-Latin.
Ballata (Ballad): the text refers to the 'Stradiotto' Veneto of the 16th Century with Greek and Slav cadences, in use on the coasts of Dalmatia and in the ports, the language of the sailors of the Serenissima.
Semo a riva (We Are Ashore) and Quei oci me fa guera (Those Eyes Assail Me) are two 18th Century Canzoni da Battello (Boating Songs), part of the great Venetian tradition of this genre: songs written by educated composers, but intended to be sung by everyone during parties and outings by boat, naturally.
La regata veneziana (The Venice Regata) takes us back to the beginning of the 19th Century and is a delightful suite of canzonettas by Gioacchino Rossini, which testifies to the practice of writing canzoni da salotto (songs of the salon) in the Venetian dialect, a custom which lasted right through the 1900s and from which I have taken Sopra l'acqua indormensada (Above the Sleeping Water) by R. Hahn.
In 1949 La Scala saw the first performance of Il Campiello by Ermanno Wolf-Ferrari, from which is taken the moving aria Buondì Venezia cara! (Gooday Dear Venice!). I have sought a minor, but perhaps more intimate and secret Venice in three folk songs from the mid 1900s: In sandolo (Aboard a sandolo (Venetian barge)) by Bianchini, El gondolier (The Gondolier) by Canfora (but this may be a case of a transcription of an old folk song) and Nina d'amor me consumo (Nina Love Consumes Me) by the mysterious El Mac Gillor which takes me back to 1968 when this song was in vogue among the barricades of the student revolution.
The CD ends with Vecio Parlar (Old Talk), the contribution made by the poet Andrea Zanzotto, who recites the final part of Filò: I have decided to divide it into two parts, so that it becomes the guiding thread to this imaginary tale about the magic sound of the Veneto tongue -a single tongue which is nonetheless ever-different, able to fuse and recreate itself, which is perhaps why it is still alive.
Donella Del Monaco