{"id":19165,"date":"2007-09-07T19:00:00","date_gmt":"2007-09-07T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/us-and-them-pink-floyd-antonioni-called-the-piano-too-sad\/"},"modified":"2026-09-26T23:58:28","modified_gmt":"2026-09-26T21:58:28","slug":"us-and-them-pink-floyd-antonioni-called-the-piano-too-sad","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/canciones\/us-and-them-pink-floyd-antonioni-called-the-piano-too-sad\/","title":{"rendered":"Us and Them – Pink Floyd: Antonioni dijo que el piano era demasiado triste"},"content":{"rendered":"

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Un tema de cine que Antonioni devolvi\u00f3<\/h3>\n

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Us and Them<\/em> empez\u00f3 como la pieza de piano de Rick Wright, The Violent Sequence<\/em>, escrita para Zabriskie Point<\/em> de Michelangelo Antonioni y rechazada en Roma en 1969. El director la oy\u00f3 y la devolvi\u00f3. Roger Waters ha repetido el motivo en el ingl\u00e9s roto de Antonioni: era hermosa, pero demasiado triste, y le hac\u00eda pensar en la iglesia. El tema se qued\u00f3 en la banda. Tres a\u00f1os despu\u00e9s Waters le puso letra para The Dark Side of the Moon<\/em>.<\/p>\n

La letra se escribi\u00f3 en las sesiones de Abbey Road, de junio de 1972 a enero de 1973. Waters ha descrito las tres estrofas sin rodeos. La primera habla de ir a la guerra. La segunda, de las libertades civiles, el racismo y el prejuicio de color. La tercera, de pasar junto a un vagabundo y no ayudarle. David Gilmour canta la voz principal. Su voz queda dentro de un eco largo. Wright canta la armon\u00eda por encima. La figura de piano de debajo es la pieza que Antonioni rechaz\u00f3.<\/p>\n

Dick Parry toca el saxo tenor, el mismo m\u00fasico que en Money<\/em>. Doris Troy, Lesley Duncan, Liza Strike y Barry St. John cantan los coros, el cuarteto del \u00e1lbum. Con 7 minutos y 49 segundos es el tema m\u00e1s largo del disco. Pink Floyd lo produjo. Alan Parsons lo grab\u00f3. Harvest public\u00f3 el \u00e1lbum en Estados Unidos el 1 de marzo de 1973 y en Gran Breta\u00f1a el 16 de marzo. En las versiones en directo de la suite, a principios de 1972, no hab\u00eda saxo, y cantaban Waters y Wright. El disco es la voz de Gilmour y el metal de Parry.<\/p>\n

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\n

Es hermoso, pero es demasiado triste, \u00bfsabes? Me hace pensar en la iglesia.<\/p>\n<\/blockquote>\n

(Michelangelo Antonioni, sobre The Violent Sequence, seg\u00fan Roger Waters)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb19160″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1700019160{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

El sencillo americano sali\u00f3 el 4 de febrero de 1974, con Time<\/em> en la cara B. No se public\u00f3 como sencillo brit\u00e1nico entonces. El solo de saxo es la parte que la versi\u00f3n de escenario de 1972 no ten\u00eda. Parry entr\u00f3 para el \u00e1lbum, igual que en Money<\/em>, y los dos solos son los \u00fanicos vientos del disco. Las coristas entran en los estribillos. No cantan bajo la primera l\u00ednea de la estrofa. La armon\u00eda de Wright es la segunda voz principal, no una parte de coro.<\/p>\n

Lo que Antonioni oy\u00f3 en Roma era el piano solo, tan lento que le son\u00f3 a iglesia. El tema del \u00e1lbum guarda ese tempo y a\u00f1ade la letra, el eco en Gilmour y a Parry. El remaster de 2011 es la misma grabaci\u00f3n de 1973, no una toma nueva. La pieza que el director devolvi\u00f3 sigue siendo la del medio de la cara B. La cara B del \u00e1lbum abre con Money, y este tema va detr\u00e1s. El piano que Wright toc\u00f3 para Antonioni en Roma qued\u00f3 fuera de la banda sonora de Zabriskie Point, publicada en 1970. El grupo guard\u00f3 la figura y la termin\u00f3 \u00e9l.<\/p>\n

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