Paloma e notte roberto murolo biography
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On 26 January 1995 he was appointed by Italian President Oscar Luigi Scalfaro a "Grand Officer of the Republic" for his artistic merits, and on January 23, 2002 he was appointed "Cavaliere di Gran Croce", by President Carlo Azeglio Ciampi. The work, issued between 1963 and 1965, features guitarist Eduardo Caliendo and includes some “precedents” of late nineteenth-century classical songwriting.
They created such works as “Na voce, na chitarra” and the album Ottantavoglia di cantare (1992), which includes “Cu mme,” a hit written by Enzo Gragnaniello and sung with Mia Martini. He made a comeback in the 1990s.
He died at his home in Via Cimarosa 25, Naples, which continues to be the headquarters of the "Roberto Murolo Foundation" (Fondazione Roberto Murolo).
Lee Wilder (1951)
Roberto Murolo
(Naples, 1912 – Naples, 2003)
By Pasquale Scialò (Università S.
Orsola Benincasa, Naples)
(Originially published on Il Corriere del Mezzogiorno, March 14, 2023, p. In 1935 he was hired as clerk in a gas company, where he was to remain for three years, and thanks to his swimming passion, he won the national university championships, and was awarded by the Duce in Piazza Venezia.
Murolo was a multifaceted figure whose episode-filled story was kept in a precious safe (“Casciaforte”), to use the title of a song dear to him: from singer to guitarist, from actor to successful author as well as an attentive popularizer of song repertoires.
The first episode of this imaginary TV series portrays Murolo in a bourgeois setting on the Neapolitan Riviera di Chiaia, frequented by poets such as Salvatore Di Giacomo and Libero Bovio, along with his father Ernesto (Naples 1876–1939) who was a poet, journalist, theater writer and author of successful songs like “‘O cunto ‘e Mariarosa” and “Pusilleco addiruso,” whose verses evoke the luminous gouaches of nineteenth-century landscapes.
As a young man, Murolo did not seem motivated to pursue an artistic career, likely due to the imposing presence of his father.
Among these were songs from the folkloric oral tradition, arranged according to the tastes of bourgeois Salon musicand taken from Vincenzo De Meglio’s collection L’eco di Napoli (“Canto delle lavandaie del Vomero,” “Cicerenella”) – as well as other forms of vocal music, including the villanella.
In our imaginary series’ fifth episode, Roberto Murolo becomes a songwriter, creating approximately one hundred new songs, according to Gianni Cesarini’s research.
The result is a new “vocal hybrid” capable of creating a perfect fusion between the friendly timbre of a crooner and that of a fine actor, blending the warm timbre of Bing Crosby with the expressive one of Gennaro Pasquariello. Murolo won the Italian high diving championship in 1937, and attributed his remarkable lung capacity to the long practice of water sports.
The following year he began singing in vocal group "Midas Quartet", inspired by American "Mills Brothers", with a repertoire of rhythmic songs in the vaudeville - cabaret style.
In his old age he made a comeback with the album "'Na voice, 'na chitarra" (1990), in which he performed songs by other artists, including "Spassiunatamente" by Paolo Conte, "Lazzari felici" by Pino Daniele, "Senza fine" by Gino Paoli, and also appeared in celebrated duets: "Caruso" with Lucio Dalla at the piano, the funny "Ammore scumbinato" with his friend Renzo Arbore.
In 1994 Murolo published "Tu si' 'na cosa grande", a tribute to Domenico Modugno, accompanied by the best exponents of Neapolitan music of the time: Lina Sastri, Nuova Compagnia di Canto Popolare, Pietra Montecorvino, Eugenio Bennato, Enzo Avitabile, Enzo Gragnaniello and Tony Esposito, on arrangements by Adrian Pennino; he recorded in the album "Anema e Core" (1995) the songs "Dicitencello vuje" (Fusco - Falvo, 1930) and "Anema e Core" (Manlio - D'Esposito, 1950) with singer Amalia Rodrigues, the great interpreter of Portuguese "fado" with whom he had already sung in March 1974, at the Politeama Theatre in Naples.
Meanwhile, in 1939 his father died, leaving the family in precarious economic conditions which led him to prepare for his return to Naples in 1946, to a city that was slowly recovering from the destruction of WWII bombings.
The third episode places him in the Tragara Club in Capri, where his voice-and-guitar performance of traditional songs was applauded, restoring full centrality to singing and the poetic text.
After the publication of his Anthology, starting in 1969 he published four monographic albums, "I grandi della canzone napoletana", dedicated to poets Salvatore Di Giacomo, Ernesto Murolo , Libero Bovio and E. A. Mario. Antologia cronologica della canzone partenopea", twelve seminal albums of the Neapolitan song.
Thus Murolo, in a heartfelt homage to his father’s memory, performed “Napule ca se ne va!” and “Suspiranno.” His success was such that the formula of the singer-guitarist, a bourgeois legacy of the ancient art of gavottisti and posteggiatori,[1] was aired on the radio in a show entitled La dolce voce di Capri.
It is in this phase that he shapes his artistic profile, poised between a hereditary culture learned from immersion in his family’s origins, and the acquired taste for imported repertoires.
The first reason is the great playwright Eduardo de Filippo [...] The second reason is [...] Totò. In the mid-seventies he stopped recording, but not appearing in concerts. They played at private parties to entertain the participants with music and dances, including the “gavotta,” a Provençal dance that became particularly popular in Naples during those years.
But he also wrote his own songs: with composer Nino Oliviero he signed "O ciucciariello" (1951) and with musician Renato Forlani "Torna a vucà" (1958), "Sarrà...