page_title: Oltre (Claudio Baglioni)
section_title: Disc one
hierarchical_section_title: Oltre (Claudio Baglioni) / Composition / Disc one
caption_attribution_description: Azərbaycanca: Başlıq
context_page_description: Oltre - un mondo uomo sotto un cielo mago, simply known as Oltre, is the eleventh studio album by Italian songwriter Claudio Baglioni, released on 17 November 1990 by CBS Italiana, a subsidiary label of CBS Records International. The album is characterized by world music features and it was recorded in the Real World Studios of English songwriter Peter Gabriel and in several European recording studios. Baglioni defined the album as the first of a trilogy about time: Oltre represents the past, Io sono qui is the present and Viaggiatore sulla coda del tempo represents the future.
  The concept album divided critics due to its complexity and completely different format respect the previous works by Baglioni.
context_section_description: Side A
  Dagli il via - In this first track, Baglioni narrates his past with memories appearing without any order, together with questions, lost opportunities, forgotten loves. In the chorus he gives the start to a run for his freedom and his will to find his own destiny and those of the listener. The man running at the beginning of the song is Walter Savelli, the pianist of Baglioni.
  Io dal mare - The sea is depicted as the mother of Cucaio and the whole humanity, giving a visual suggestion. The arpeggio at the beginning of the track was created by David Sancious during a pause from his work with Gabriel for The Last Temptation of Christ, while Pino Daniele contributed with his guitar and style. Manieri said that Pino Daniele wanted to do "that stuff with Claudio" before a surgery to his heart, and the group was temporarily moved to Formia to record the song. In an interview for the journal Chitarre, Baglioni said:
  Pino Daniele  is a separated chapter. I was very impressed the great Neapolitan character in his voice, in his way to play: that beautiful voice and guitar wail. There's that end at sixth almost resembling a tarantella played in quarters... These are the stuffs that music offers to you: words not mix so easily, they are too heavy.
  — Claudio Baglioni
  Naso di falco - The main theme is the moment when man becomes aware to have a dream, while he is looking for himself. The song begins with the depiction of a curious newborn hawk asking the same ingenuous questions that Baglioni asked when he was a child. These kind of questions are alternated with more mature and unanswered ones related to events like the Ustica Massacre in 1980, Timișoara alleged repression in 1989, Colombian conflict, Chernobyl disaster in 1986, and the Heysel Stadium disaster in 1985. At the end, the hawk flies to a place "where a dream is still free and air is not ash".
  Io lui e la cana femmina - It is dedicated to the two German Shepherd dogs owned by Baglioni: he describes them as if they are human beings with whom stroll around, dreaming to be free and without inhibitions like an animal, to be the same. The song features the French musician Richard Galliano with his accordion.
  Stelle di stelle - Baglioni talks about TV and music "stars"  of the past whose art continues to live, like the light of stars reaches Earth despite they died millions or billions of years ago due to immense distances in the Universe. The atmosphere is intimate and music is minimal.  Mia Martini contributed with his voice and  during a 1992 interview for RadioVerdeRai she said:
  I think that Stelle di stelle is one of the most beautiful songs ever made. It was an idea of Claudio, he called me and asked me if I was available to sing a track with him in the album.[...] The first time he made me listen to the song it was not exactly like that, as it was later developed by Claudio. It was a shorter track that we had to sing in unison. We had listened together to this first draft, I really liked that, and then Claudio re-called me and he said: 'I've listened to your voice, while you rehearsed with me, and I've changed completely the draft, practically creating a song inside another.
  I thought it was a beautiful idea, also really new, because it is a cutting-edge song, no one had written it in that way, both for the melodic and harmonic side. He even added a new part of lyrics, while before we had to sing the same words, suddenly, my voice became a conscience's one.
  With my presence, pessimism of the artist who does this journey backwards, and then stops to shine and disappears from the scene, is illuminated for a while by a bit of hope. And therefore I say him those things in order to lift his pessimism: ‘but could the sky end here, could the sea end before the horizon…’ I offer to him this hope which is basically the strength that the artist wants to receive in order to move on, beacuse the road ahead is too hard.
  
  He later added a melodic part, that is the one I sing, that is not consequent to the melody sung by him but it is written as if it is a bass score, even a double
caption: Paco de Lucìa.
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