Venice was the music capital of Europe for at least two centuries (the seventeenth and eighteenth). In Venice, they did not just sing in the theatres, just in the church, or only in the conservatories of the "orfanelle" in the palaces of the "patrizi": they sang in the streets, they sang in the boats: the music was obviously, no less than a fundamental element of the Venetian life. Serenades and "boating songs" were brought forward to the dawn of our time, and have also been used by refined musicians such as Reynaldo Hahn, and favoured by Marcel Proust. The CD brings to you this magic reality; the poetry of Andrea Zanzotto concludes the CD with the musicality of the Venetian language, part of the enchantment of a city that even the most modern commercialisation has not been able to profane. 'E mi me ne so 'ndao': is a very ancient traditional song, passed orally from one to another, probably dating back to medieval times. 'Li chevalers': the lyrics inspired by Franco-Venetian, the language spoken throughout Veneto in the medieval times, a mixture of the language of the French cavaliers and that of the venetian-latin. 'Ballata': the text refers to the venetian Stradiotto, of the 15th Century with Greek and Slavic cadences, in use around the Dalmatian coast and the ports, the language of the sailors of the "Serenissima". 'Semo a la riva', 'Quei oci me fa guera', are two Boating songs of the '700's, taking part in the great Venetian tradition of this genre: songs composed by schooled writers, but written to be sung by all during festas and trips, above all in a boat. "La Regata veneziana" takes us to the early '800, delicious sets of small songs by G. Rossini which allow us to be witness to the use of the Venetian in the writing of traditional family songs. A custom that lasted until the early '900's, from which, I have retrieved 'Sopra l'acqua indormensada' by R. Hahn. In 1949 at the theatre La Scala there was the first performance of 'Il Campiello' by E Wolf-Ferrari from which is taken the emotional aria 'Bondì, Venezia cara!' Than I looked for a 'smaller' Venice, but maybe more intimate and secret, in three popular songs from the mid '900's: 'In sandolo' by Bianchini, 'El gondolier' by Canfora (but maybe it deals with an old popular song, ritranscribed) and 'Nina d'amor me consumo' of the mysterious El Mac Gillor that takes me back to '68 when it was popular between the barricades of the student revolution. The poet Andrea Zanzotto's 'Vecio Parlar', who recites the final part of 'Filò' closes the CD. I divided it into two parts, so as it would became the conducting chord of the imaginary narration dealing with the magical sound of the Venetian language. It is the same language, however different at the same time, as il is capable of melting and recreating and, may be for this, it is still alive.