Posts Tagged ‘marcello simeone’


Monday, March 14th, 2011

The track is included in the album

eight soundscapes starting from “Thursday Afternoon”, the delicate and sexy masterpiece by Brian Eno

by orchestra eclettica e sincretista

released 28 February 2011
a project by Marco Lucchi

Echo (Succession)

Wednesday, February 9th, 2011

Echo (Succession), 11 am, 2010

Point of light

Friday, January 21st, 2011

Point of light, London (UK) 2008


Wednesday, January 19th, 2011

Incisa Valdarno (FI), Italy 2008

Arvo Pärt

Monday, November 8th, 2010



Arvo Pärt is often identified with the school of minimalism and, more specifically, that of mystic minimalism or holy minimalism.[4] He is considered a pioneer of this style, along with contemporaries Henryk Górecki and John Tavener.[5] Although his fame initially rested on instrumental works such as Tabula Rasa and Spiegel im Spiegel, his choral works have also come to be widely appreciated.

Pärt’s oeuvre is generally divided into two periods. His early works ranged from rather neo-classical styles influenced by Shostakovich, Prokofiev, and Bartók. He then began to compose using Schoenberg’s twelve-tone technique and serialism. This, however, not only earned the ire of the Soviet establishment, but also proved to be a creative dead-end. When early works were banned by Soviet censors, Pärt entered the first of several periods of contemplative silence, during which he studied choral music from the 14th to 16th centuries.[3] In this context, Pärt’s biographer, Paul Hillier, observed that “He had reached a position of complete despair in which the composition of music appeared to be the most futile of gestures, and he lacked the musical faith and will-power to write even a single note.”

The spirit of early European polyphony informed the composition of Pärt’s transitional Third Symphony (1971); and thereafter, he immersed himself in early music, re-investigating the roots of Western music. He studied plainsong, Gregorian chant, and the emergence of polyphony in the European Renaissance.

The music that began to emerge after this period was radically different. This period of new compositions included Fratres, Cantus In Memoriam Benjamin Britten, and Tabula Rasa.[3] Pärt describes the music of this period as tintinnabuli — like the ringing of bells. Spiegel im Spiegel (1978) is a well-known example which has been used in many films. The music is characterised by simple harmonies, often single unadorned notes, or triads, which form the basis of Western harmony. These are reminiscent of ringing bells. Tintinnabuli works are rhythmically simple and do not change tempo. Another characteristic of Pärt’s later works is that they are frequently settings for sacred texts, although he mostly chooses Latin or the Church Slavonic language used in Orthodox liturgy instead of his native Estonian language. Large-scale works inspired by religious texts include St. John Passion, Te Deum, and Litany. Choral works from this period include Magnificat and The Beatitudes.[3]

Of his popularity, Steve Reich has written:”Even in Estonia, Arvo was getting the same feeling that we were all getting. [...] I love his music, and I love the fact that he is such a brave, talented man. [...] He’s completely out of step with the zeitgeist and yet he’s enormously popular, which is so inspiring. His music fulfills a deep human need that has nothing to do with fashion.” Pärt’s music came to public attention in the West, largely thanks to Manfred Eicher who recorded several of Pärt’s compositions for ECM Records starting in 1984.

In response to the murder of the Russian journalist Anna Politkovskaya in Moscow on 7 October 2006, Pärt declared that all his works performed in 2006–2007 would be in honour of her death:
“Anna Politkovskaya staked her entire talent, energy and—in the end—even her life on saving people who had become victims of the abuses prevailing in Russia.”
— Arvo Pärt







Chantal Akerman – Hotel Monterey / News from Home

Tuesday, October 26th, 2010

Media Art Net | Akerman, Chantal.

Hotel Monterey

Chantal Akerman «Hotel Monterey»

In the first of Akerman’s longer feature films the camera becomes the ‹actress› who, with extended takes and tracking-shots, is moved through the empty spaces of the New York hotel of the same name—creating an architectural study likewise a psychic space.
In Hotel Monterey and News from Home (1976), two of Akerman’s films made in New York under the influence of structural filmmaking, a fixed shot of an empty corridor, or of a crowded subway car (human absence, human presence), maps the range of possibilities of structural film. When the elevator door opens onto an empty corridor in Hotel Monterey, the image can be considered as a set of lines, colors, perspectival illusions. When the [camera] opens into a hall full of people, this moment of mutual acknowledgment intimates a register of performance for documentary structural film.


News From Home

Chantal Akerman «News from Home»

In «Hotel Monterey» and «News from Home» (1976), two of Akerman’s films made in New York under the influence of structural filmmaking, a fixed shot of an empty corridor, or of a crowded subway car (human absence, human presence), maps the range of possibilities of structural film.