Cacciapaglia is a prominent figure on the more innovative Italian music scene and a point of reference in Italy and abroad, for his musical research between classical and experimental electronic and direction towards music without borders that goes beyond divisions.
For some time, he was involved in studying sacred music and dance, and for a number of years he has conducted a research effort that studies the powers of sound. His music draws inspiration from these experiences and passes through emotions rather than through traditional rules and structure.
”SONANZE” (1974) is his first record, published by Rolf Ulrich Kaiser, editor of “OHR”, a German record company. Through this work, Cacciapaglia entered into contact with various German music groups such as: POPOL VUH, TANGERINE DREAM, WALLENSTEIN, DIETER DARKS.
“SEI NOTE IN LOGICA” (1978) for vocals, orchestra and computer published by Philips during the performance of the Ensemble Garbarino.
During these years his compositions are performed in diverse locations: Università Statale of Milan with the Popol Vhu.
“PER UN USO CREATIVO DEL NUOVO SUONO” (1975) Basilica of Piazza Vetra in Milan.
“I TESTIMONI” (1976) accompanied by the sculptures of Ugo Guarino realised from dismantled furniture from the Psychiatric Hospital of Trieste. “Festival di Re Nudo” Parco Lambro. “OUTLINES” (1977) performed by Antonio Ballista and Alide Maria Salvetta at the Festival Pianistico of Brescia and Bergamo.
“AZIONE MUSICALE SOTTO UNA LENTE D’INGRANDIMENTO” (1978) for the pantomime and instrumental group, “Out Off” of Milan, International Congress of Anti-psychiatry of Paris.
His work as a composer and producer permits him to experiment with the language of rock music: Ann Steel (1979), Gianna Nannini (1981), Giuni Russo (1983), Ivan Cattaneo (1983), Alice (1985)...
“RICONCILIAZIONE” (1986) for piano and instruments. Opening performance, the Milan Conservatory.
“GENERAZIONI DEL CIELO” (1986) work composed of two acts published by Ricordi e recorded on Dischi Fonit Cetra, plenary performance at the Metastasio Theatre of Prato(1986). Other performances: Chiesa del Convento di San Nazzaro della Costa in Novara, Rassegna “Musica Instrumentum Coeli” (1999), Lingotto– Salone della Musica of Turin (2000).
“TRANSARMONICA” (1988) for vocal and instrumental group. Festival “Aterforum” of Ferrara – where, with his ensemble, he performed with Terry Riley “In C”.
In that same year “TRANSARMONICA” Festival “Due Dimensioni” of Parma. In 1992 he opened the Festival of Villa Arconati at Castellazzo di Bollate during the inaugural evening entirely dedicated to the works of Roberto Cacciapaglia.
“LAMENTAZIONI DI GEREMIA” (1986) for countertenor and organ. International Festival of Tel Aviv. Additional representations: “Festival Due Dimensioni” of Parma, “Cabaret Voltaire” of Turin, Basilica di Santo Stefano in Bologna (2001).
“AUREA CARMINA” (1988) from the text of Pythagoras, for baritone, treble, choir and orchestra, commissioned by the Accademia of Santa Cecilia in Rome where it was also performed in that same year.
“IL SEGRETO DELL’ ALBA” (1989) pantomime ballet in two acts commissioned by the Teatro Comunale of Bologna where it was also performed.
“UN GIORNO X” (1990) video opera for vocals, orchestra and electronic instruments commissioned by “Musica del Nostro Tempo” and performed at the Conservatorio of Milan with the participation of Gianna Nannini and l’Orchestra dei Pomeriggi Musicali.
“LE MILLE E UNA NOTTE” (1991) musical fairytale written for the Compagnia marionettistica “Carlo Colla & Figli” performed at the Festival of Berlin “Berliner Festspiele” and “Festival di Spoleto” (1998).
“SINTONIA” (1991) for arc orchestra performed by the Orquesta Sinfonica Municipal de Campinas in Brazil.
“DIALOGHI CON NESSUNO” (1991) theatre work directed by Silvano Piccardi, interpreted by Ottavia Piccolo.
“ANGELUS ROCK” (1992) for vocal and instrumental group published by Polydor, presented at the IV Edizione del Premio “Città di Recanati” (1993).
“ODISSEO, IL SENSO DELL’ALBA” (1996) solo piano, commissioned from XVI Festival del Teatro Italiano “Riviera d’Ulisse”.
“TRA CIELO E TERRA” (1996) published by CGD with the participation of Franco Battiato presented in concert at the Teatro Olimpico of Rome (1997).
“MAI PER ATZAR” (1997) theatre work directed by Valerio Ferrari “Passatge de la Pau” of Barcelona.
“DISSOLUZIONE DELLA ARIA” (1997) for solo piano. First performance at the “Teatro Baraccano” of Bologna. Additional performances: Rassegna “Genius Loci”, Chiostro del Bramante, Rome (2001), Festa Europea della Musica of Rome (2002), “La Milanesiana” organized by Elisabetta Sgarbi and the Provincia di Milano (2002), Festival di Verucchio, Rassegna “Musica e Dintorni”(2002) Monte di Pietà, Messina.
“ANIMALS” (2000) commissioned by the “Cantiere Internazionale di Montepulciano”, interpreted by Elio delle Storie Tese and directed by Enrique Mazzola.
“ARCANA” (2001) published by BMG Ricordi with a preview performance in 2000 at the Festival “Il Violino e la Selce” of Fano directed by Franco Battiato. Additional performances: “Galleria Sozzani” of Milan (2001) concert event presentation of the Cd, Manifestazione “Pegaso d’Oro” of Acireale, “Made in Bo” of Bologna, Festival “Esperimenta” of Alberobello.
“TEMPUS FUGIT” (2003) for piano, vocals, violoncello and electronic positions. Published by BMG Ricordi, preview at Festival “Sconfinando” Sarzana (2002), Chiesa dei SS. Gervaso and Protaso Trezzo sull’Adda, Basilica di San Lorenzo Milan nella Rassegna “Musica nei Cieli”(2003).
“APPELLO ALLE NAZIONI” (2003) with the participation of Gianna Nannini, Chiesa di San Carlo al Corso - Milan.
“SALMO 4 – PREGHIERA DELLA SERA” (2003) for soprano and piano, Duomo of Milan in the Rassegna “Salmi”
“ESERCIZI PREPARATORI PER LA MODIFICA DEGLI EVENTI” for piano, with Derek Walcott, the Nobel Prize in Literature, Teatro Dal Verme, “La Milanesiana”.
“DIAGONAL MAR” Palazzo Isinbardi, “La Milanesiana”.
“ROCK ANGELS” (2003) for the installation exhibition of Roberto Masotti, Rassegna “Limite” Arco di Trento.
“MENTE RADIOSA” (2004) for piano exclusively presented with the Nobel Prize winner, Rita Levi Montalcini, at the Milanesiana “Palazzo Isinbardi”.
“INCONTRI CON L’ANIMA” (2005) Cd published by Deltadischi, Teatro San Carlo of Naples, Giardino di Boboli of Florence, Castello di Lecce where a selection of the Cd was presented (2006).
“AD VITAM” (2005) Triennale di Milano in memory of Pierpaolo Pasolini.
“TRA BUIO E LUCE” (2007) elements of style with Giovanni Sollima Teatro Dal Verme “La Milanesiana”.
“QUARTO TEMPO”(2007) Cd realised with the Royal Philharmonic Orchestra and published by Universal Music in September 2007. Officially presented in concert at the Teatro degli Arcimboldi of Milan.
"Violoncelles, vibrez" became the main theme of Peter Greenaway's Rembrandt's J'Accuse.
How Long
Roberto Cacciapaglia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
How long will you hide your face from me?
How long must I bear pain in my soul, and everyday have sorrow in my heart?
How long, my Lord, give light to my eyes, or I will sleep the sleep of death.
How long, O Lord?
How long, O Lord? Will you forget me forever?
How long, O Lord?
How long, O Lord? Will you forget me forever?
How long, O Lord? Will you forget me?
How long will you hide your face from me?
How long, my God, give light to my eyes, or I will sleep the sleep of death.
How long, O Lord?
How long, O Lord? Will you forget me forever?
How long, O Lord?
How long, O Lord? Will you forget me forever?
The lyrics of Roberto Cacciapaglia's "How long" are a plea to God asking for help during a difficult time. The singer feels forgotten by God and is asking how much longer they must suffer before they receive any relief. The repetition of the phrase "How long, O Lord?" emphasizes the singer's desperation and longing for an end to their pain. The line "give light to my eyes, or I will sleep the sleep of death" carries a deeper meaning, suggesting that without God's intervention, the singer may lose the will to live.
The lyrics could be interpreted from a religious point of view, reflecting the struggle of one's faith when faced with adversity. It could also be interpreted more generally, as an expression of the human experience when dealing with pain and suffering. The slow, melancholic melody and the repetition of the chorus create a sorrowful mood, conveying the depth of the singer's despair.
Line by Line Meaning
How long, O Lord? Will you forget me?
The singer is questioning the Almighty God about his abandonment, going through a state of distress.
How long will you hide your face from me?
The singer begs for the Almighty God’s attention, asking how long it will take for him to face up to the singer's prayers and pleadings.
How long must I bear pain in my soul, and everyday have sorrow in my heart?
The singer is in a state of despair and sorrow, questioning if the distress and agony will ever come to an end.
How long, my Lord, give light to my eyes, or I will sleep the sleep of death.
The artist is asking the Almighty God to show him a purpose in life, begging to be given a reason to live despite an overwhelming sense of despair and fatigue.
How long, O Lord? Will you forget me forever?
The artist's plea continues, asking the Almighty God if he will ever be remembered and heard for eternity, or if he will be forgotten entirely.
How long, O Lord?
The singer, filled with distress, finds himself calling upon the name of the Almighty God, questioning the length of time it will take for his prayers to be answered.
How long, O Lord? Will you forget me forever?
The plea continues with a sense of hopelessness, begging to know if he will be forgotten by the Almighty God for all of his days.
How long, O Lord?
The artist continues to call out to the Almighty God, hoping for some response or sign of hope.
How long, O Lord? Will you forget me forever?
In a repeated cry for help, the artist pleads with the Almighty God to remember him.
Contributed by Tyler I. Suggest a correction in the comments below.