Sul lento silenzio del mare - Score

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Harris maintains a fine and carefully measured balance between stasis and movement, as well as between the frightening and the consoling. As a consequence, "Like a Slow River" has therefore turned out much more than just a dark and ominous chunk of noise. Rather, it weaves a finely woven net of fragile metaphors, resulting in a soundtrack to snowflakes falling from the sky in dream-like slow motion.

After being back on the map with a great Scorn album, Mick Harris has finally unburied the Lull project with a new full length, and I feel it's only natural that it's been released by Alessandro Tedeschi Netherworld 's isolationist label Glacial Movements. Now, has anything changed since the heydays of the Lull sound? This is more or less in the vein of the "Cold Summer" masterpiece, and though unavoidably less groundbreaking it's still an inspired and evocative album. Welcome back, mr. Assistant Editor Difficult but worth the effort, Mick Harris' take on "glacial ambient" is especially literal.

Netherworld's Alessandro Tedeschi founded the Glacial Movements label to explore and promote his concept of "glacial and isolationist ambient" music. These tracks are so minimalist that the notes themselves are largely absent, with just their remnants in the form of lingering echoes left to create a sense of frigid loneliness. Title track "Like a Slow River" at last adds a hint of contrast in the form of whistling tones; presumably meant to evoke the wind blowing through cracks in the ice, it's tempting to compare them to whale songs, if only to conjure some sense of mammalian life to mitigate the loneliness.

The genius of this album is that Harris provides little assistance to the listener; this isn't an album that will instantly transport you to the arctic north with no effort on your part. With properly focused attention, however, Like a Slow River is an extraordinarily subtle and rewarding listen. Daarnaast wordt hij tegenwoordig regelmatig gesignaliseerd in de buurt van Black Engine, een nieuw project van het Italiaanse avant-jazztrio Zu en Eraldo Bernocchi zie GC Of beter: van onder het ijs.

Italian label Glacial Movements' tagline is 'glacial and isolationist ambient' and the new album from ex-Napalm Death, Painkiller and Scorn mastermind Mick Harris embraces this concept. Resurrecting his long-absent Lull project, Harris revisits his dark, minimal ambient alter ego to deliver an album for a label that focuses on those very themes.

The fittingly titled "Like A Slow River" is an hour long journey spread across five generally lengthy tracks of glacial ambience. Often barely more than low droning textures and fluid tones, every nuance is subtly portrayed. Conjuring images of vast windswept polar landscapes, "Like A Slow River" slowly but accurately paints a picture of a featureless tundra, depicting the gradual movement of an ice flow and the feeling of absolute isolation the environment represents. Completely unrushed and slowly evolving, Harris allows the music to tell its own story through gentle rumbling drones and subtle drifting tones.

As the title suggests, there is a feeling of natural progression throughout the album, as though nature takes its course at its own steady but insistent pace. Harris' music is calming and gentle but at the same time has a tense air of the inevitable whilst creating an impression of epic scale in a magnitude only possible in nature itself.

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Often quite tense and at others sublimely calming but consistently dark and minimal, "Like A Slow River" is quality submersive listening music with hidden depths that marks the welcome return of one of Harris' most acclaimed projects. PL:8 PL. Tutte band da prendere con le molle, macchine ideate per produrre suoni ostici, e tutte risalenti agli anni Novanta del secolo scorso.

Anche la sigla Lull compare nei primi anni 90, esattamente nel con l'album d'esordio Dreamt About Dreaming. Masse sonore abissali che collassano ripetutamente e sembrano mimare il lento incedere dei ghiacciai eterni. Insomma un disgelo dell'artista votato al gelo assoluto.

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Gennaro Fucile. Klasika znovu trochu jinak. These last-mentioned were the founders of the isolationist creed that arose from a ferment of industrial-ambient and dark-drone activity which Harris did much to carry forward in the mids. Harris had a flair for the desolate and voidoid fuelled by a harsh audio-sensibility forged in the fire of Napalm Death. What had been less clear till then was a certain prowess in sound grabbing and scaping that drew the listener into the abyss without drowning them, most notably on 's isolationist classic, Cold Summer.


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Like A Slow River, not surprisingly, finds Lull still documenting similar psychogeography, as atonal murmur and reverberant wheeze consort with currents beneath the surface. Lull charts a tonal topography bleakly remote from harmonic referents across five variations on a theme of sickly sub-bass slithers and queasy mid-range slivers, configuring sounding sources into varying modulations and vibrations, shifting cadence and timbre. Like A Slow River will fall, out of categorical imperative, into that black hole facilely labelled "dark ambient" into which much disappears from view, pulled down into lumpen-homogeneity by association.

What makes ambient isolationist? In the early s it was a reaction against the highly rhythmical, ornate, more-techno-than-ambient music that, oxymoronically, was often used for dancing. Polar regions seemed an apt metaphor, a featureless, flat, wind-swept landscape.

And unlike the deserts, bleak landscapes that have inspired other musicians, polar regions are uninhabited, removing the vestiges of aboriginal civilizations that haunt Steve Roach and his desert ambient colleagues.

Glacial Movements - Reviews

In , Virgin Records released a 2-CD compilation entitled Isolationism that tremendously expanded the acceptable range of music covered by the term. In particular, it opened the door to paranoia and despair, looking at isolation as a social term, and moving toward other environments, inner as well as outer, where an individual could be isolated. But one label which has retained the far, cold north as inspiration, ironically from Mediterranean Italy, is Glacial Movements, self described as "glacial and isolationist ambient. Harris should need no introduction to long-time ambience enthusiasts from his work in the early s with Bill Laswell, and perhaps from his various ambient metal speaking of oxymorons projects such as Napalm Death and Painkiller.

But Like a Slow River is very much in keeping with Glacial Movements' stated aesthetic — long, slow textures, an absence of melody or rhythm, few points of reference. This is especially true of the opening track, Whiteout, where everything blurs into various shades of white noise, marked with high-pitched gusts of wind. But each track is distinct, from The Sheet's deep bass rumbles that come in surges, eventually permitting glimpses of soft melodic fills, to the gentle oscillating drones of Treeless Grounds, which has fewer landmarks than Whiteout, if that's possible.

Lull's isolation is peaceful, meditative, a turning inward for our most private thoughts, faint glimmerings, and the remainder of the previous night's dreams. From the punishing speed of Napalm Death through the narcotic dubstep of Scorn and into the isolationism of Lull, all of the projects from Mick Harris are connected by an utterly bleak outlook on the world and the human condition.

This album was released in , marking it the first proper Lull album in something like 8 years outside of a one-off collaboration and two collections of rarities ; and Like A Slow River stands as one of the better releases in his entire discography and it's certainly the best Lull album to date. The five pieces unfold into grey masses of mist, fog, and shadow without much in the way of delineation of shape or form.

There are heavy rumbles of distorted basstones as if thunderous explosions were being set off many miles away, and there are slight filigrees of melody coaxed out of the purposefully amorphous drone passages. Ambient music has long favored a reductionist approach, and Harris like Thomas Koner, BJ Nilsen, and at times Lustmord instills his dramatic absences with an existential dourness that is signature of the isolationist aesthetic. It's very very cold, very very slow, and very very well done.


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Glacial Movements — I wondered how long a label could sustain its existence based upon a singular aesthetic theme, exploiting desolate, glacial atmospherics in a regular stream of releases. Yet, defying all my expectations, Glacial Movements has not only survived in these difficult economic times, but has actually thrived. A question of shifting interests, or perhaps nothing more to say. I must admit that it's been also a while since I last heard Lull shifting interests perhaps , but if I was to describe, from memory, how Lull sounded like, I would no doubt describe something like 'Like A Slow River': long dark pieces of ambient music, or to use the vulgus of the old days, isolationist music, which live up to the name of the label, Glacial Movements.

She could not have been singing in opera at Rome in , as no women were allowed to appear on the stage.

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Her part in " I1 Ratto delle Sabine" at Venice was only a small one, and there is no record of her having sung in any other opera. Even in her brother's " Pompeo " she did not take part, unless it were in the chorus or the ballet. And it is significant that when given her choice either of leaving Naples or of entering a convent there, she preferred the latter alternative, probably having little chance of obtaining a serious musical engagement elsewhere.

Naples, He was the most celebrated singer of his time, and had probably had plenty of experience of Scarlatti's style when singing in Rome under the protection of Queen Christina. He was in the service of the Duke of Modena, but much in demand everywhere else, in spite of his rather capricious manners.

For us he has a special interest, as having been sent by the duke to his sister Mary of Modena, wife of James II.

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He was only five months in England January iS to June 16, , and suffered considerably from the climate; but he had time to acquire some considerable celebrity there, and may very likely have helped to introduce Scarlatti's music to English audiences. He made him write to the Duke of Modena, and wrote to the duke himself as well, begging him to allow Siface to stay, both letters being dated from Naples on February 19, two days after the appointment of the two Scarlattis. How far the Viceroy approved of the appointment cannot be said; probably he was personally inclined towards it, in view of the success of " Pompeo," and was carefully persuaded to ratify it by the "triumvirate" of whom Conforto tells us, in spite of the dissatisfaction which seems to have arisen, according to Conforto, from the post being given to one who was not a Neapolitan.

In any case Anna Maria Scarlatti deserves to be remembered, since, had it not been for her, Alessandro might not have remained at Naples to be for eighteen years the leading composer of operas there. And these eighteen years, though they do not represent the best period of Scarlatti's production, are of the greatest importance for his own career and for the history of music generally, since the encouragement that he received at Naples, in spite of obvious disadvantages, enabled him to develop his style steadily in one direction in a way that he could never have done under other circumstances.

He apparently received no stipend after February , but he stayed on in Naples and retained his title until , hardly a year passing in which he did not compose at least two operas, most of which were produced either at the royal palace or at the royal theatre of S.


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  • We can hardly be surprised that, under such circumstances, he soon took to modelling his work on fixed patterns, from which he hardly ever departed. But the system had its advantages as well as its drawbacks. It limited the composer's sphere of action, but it gave him leisure to develop this style to the utmost within the limits imposedQThus this period, which, more than any other, marks the first step to the final decadence of oldfashioned Italian opera, is of the greatest importance in the history of pure music, and it is mainly from this point of view that it will be treated in this chapter.

    It is not easy for the modern reader to orm a clear conception of what an operatic performance was like at this time. The modern romantic opera, to say nothing of the modern music-drama, seems to have nothing tangible in common with the opera of Scarlatti. The 1 Parocchia di S. Liboria della Carita Chiesa di Mlontesanto , fol. Domenico Martio Carafa Duca di Maddaloni. Marino Caracciolo Ppe di Avellino e D. Emilia Carafa Duchessa di Maddaloni. Nicola Gaetano p procura in nome del Sigre D.

    dercsubsparthi.tk Aurora Sanseverino. Jerome, were all stock characters at the "Real Teatro di S. The author may cite Aulus Gellius and Polydore Vergil in the most learned manner in the avviso al lettore, but once the curtain is up history retires into the background, and for three acts we do nothing but watch the progress of interminable love intrigues between personages whose very existence is often no more than one of the poet's "accidentz verissimi. An outline of " L'Olimpia Vendicata" will serve to illustrate the type.

    When the curtain rises, Olimpia, a princess of Holland, is discovered alone on a desert island in the Spanish main, where she has been left by her faithless lover Bireno, prince of Zealand. She is immediately taken prisoner by Araspe, a pirate chief, to whose inquiries she answers that her name is Ersilla. The scene now changes to the court of Spain.

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    The king Oberto wishes to marry his sister, the princess Alinda, to Osmiro, prince of somewhere else his country is not named ; Alndza, however, refuses, preferring a stranger who has just arrived in the guise of a pilgrim. At this juncture Araspe appears, having been cast ashore by a convenient storm, and Ersilla-Olzimpia is given to Ahlinda as a slave, Oberto himself immediately falling in love with her. This ends the first act. In Act II.

    It being apparently one of "Ersll'a's" duties to read Alzinda's love-letters aloud to her, and write the answers at her dictation, Olinmpia is thus made aware of the situation, and determines to avenge herself.

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