Together as Aquadorsa the duo dance around the divide of stillness and glitch, like a contemporary remix of Eno's Apollo soundtrack prepared in the free floating environment of zero gravity. Over the kind of slow, spacious synth themes heard on Oophoi's releases, Coniglio disturbs the peace with vinyl clicks, sonar bleeps and high whistling oscillations.
Still an overall calm pervades, despite the distractions from the landscape of the industrial age. Visit the 'oophoidrones' page at myspace for a five-track preview of this wonderful change of pace. Some of the material adheres pretty closely to the ambient-electronic template. A discernible escalation in intensity and episodic shift transpires too during the piece's twelve-minute running time, a narrative move that further separates it from the even-tempered stasis of the prototypical ambient setting. Cloudlands ultimately registers as a varied collection that in subtle and satisfying ways shakes up the ambient soundscaping template without betraying its fundamental character.
We know Enrico Coniglio from different solo albums while Gianluigi Gasperatti gained some recognition as member of Nebula before setting up Oophoi. The next tracks are full of prosperity and are like taking you miles away from the daily stress and other problems from the daily life. I was referring to darker releases on this label and from the next track on cf.
This track is definitely the most animated piece of the album and especially the strings are emerging from the glacial structures. I can imagine original sounds that have been reworked to finally get this particular kind of icy and mystic expression. DP:7 DP. Il primo si dedica a tessere soffici strutture analogico digitali, mentre il secondo le punteggia con la sua chitarra ed i suoi sample. Naturally, initial appearances are deceiving, no less so in this case.
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Cloudlands reveals itself to be a veritable anomaly in this age of the mono tone drone and so much over-arching minimalism; layered and detailed to an impeccable degree, the seven lengthy pieces are practically regal in their pragmatic impressionism. Powerful stuff, rife with ingenuity and constantly interesting—more please, fellas. Cloudlands inizialmente sembra troppo new age e troppo conciliante per destare interesse, ma si tratta di uno di quegli album che cresce ascolto dopo ascolto.
First Review This is a new name, well at least to me it is. I appear to have become the office ambient beard without even realising! Well here's a CD of 'ambience' by Aqua Dorsa who are a couple of chilled out Italian dudes from all account. You know my brother in law was calling both his wife and child dude the other day.
It must have been very confusing for them Anyway one of these Italians is Oophoi who is a reasonably well known ambient lord and if you've not heard his work then you should check it out. A couple of minutes into this and there's some beats and all sorts of stuff going on. In fact it reminds me a lot of when I first heard ambient music back in the late 80's when it was essentially just slowed down and more chilled out techno. There used to be a lot more going on in ambient music than you get these days.
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Cloudlands is one of those 'interesting' ambient albums and it harks back to those times where more shit was happening on the stereo and it's not just a long drawn out piece of music based around a whale farting. Well worth a punt! And with Cloudlands GM capo Alessandro Tedeschi has allied himself again with a heavyweight, namely Italian mystic-ambient-space-drone maven, Oophoi.
It's that Prince of Audio-Tides whose communings with little known experimentalist, Enrico Coniglio, are here gathered under the name Aquadorsa. Of Oophoi enough should be known already, but it's Coniglio's contribution - his bringing of digital turbulence to Gasparetti's more naturalistic sea of tranquility - that allows Cloudlands to stand that bit apart from the ambient space crowd, whether sprinkling pebbly gravel over crystalline contours or peppering pops and prepared piano patter over languorous lulls.
So, what might this portend, beyond a passing interest in post-digital music technology? Coniglio's 'research' is said to be "increasingly focused on the relationship between 'music' and 'landscape,' seeking to represent the contemporary crisis of the territory, the loss of nature and identity of places, and the unknown on the evolution of post-urban and post-industrial territory. No simple glum gloom-fest nor vacuous lightside languish, but a Zeitgeist-pondering meditation, with a plentiful palette of guitars, synthesizers, piano, percussion, waterphone, chimes, singing bowls, Theremin, and samples pressed into service.
Similarly paradigm-mixing, "Daylight Fading into Evening Silence" hosts a wave-like cycling synth loop washing over and over, digital crepitations creeping in, heralding Raster Noton-lite glitch-rhythmics. Nocturnal singing-bowl hum consorts with chimes and wisps over "Zero Gravity," as a ghostly loop cedes to looming syn-throb, detuned percussion and steely sine-shafts. Squarcialupi Codex, Firenze, pal. Medicea Laurenziana, med. Studi raccolti di F. Alberto Gallo. Ars Nova without number. Deluxe 8-color halftone of the most magnificent and extensive of the Italian trecento sources.
Richly painted miniatures and portraits of 14 composers presented in roughly chronological order. Commentary in It-Eng. Limited edition of copies. Deluxe clamshell case in tooled leather. Please call for special OMI price. Ars Nova, 1. Deluxe full-color reproduction. Important collection of songs with Italian and French texts copied c.
This facsimile adds eight new pages discovered in Rossi Codex, Roma, Bibl. AN 2 [Vatican, Bibl. Roma, Biblioteca Apostolica Vaticana. Studio introduttivo ed edizione in facsimile a cura di Nino Pirrotta. Ars Nova, 2.
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New deluxe edition in full color. Oldest known source of secular trecento music, copied in the environs of Padua-Verona around Belonged in the 19th c. Contains 37 pieces, mostly for two-voices and in madrigal style. Introduction in It-Eng with full description of the two fragments, poetic texts, provenance, metrical forms, concordances, attributions, and musical notation. Inventory and bibliography. Torino Codex, T. Torino, Biblioteca Nazionale Universitaria. Ars Nova, 3. Deluxe edition in full color.
Major new source c. The repertory mainly consists of settings of the ordinary along with some songs. This newly discovered codex, made up of 15 bifolios, was found as binding material. The ms contains 43 compositions, 23 of which seem to be unica. Torino Codex J. Ars Nova, 4. Full color facsimile in the original size of a beautiful ars subtilior source believed to be composed for the Royal Court of Cyprus. In all likelihood J.
Ms alpha M. Estense ANn 1a [Modena, Bibl. Estense, alpha M. Edited by Anne Stone. Ars Nova, Nuova Serie, 1a. Lucca 20 x 27 cm. Full-color reproduction. One of the most representative witnesses of the dissemination of French music in Italy. Works by Italian composers during the late trecento and early quattrocento. Special OMI price; reg. Modena Ms alpha M. Estense ANn 1b [Modena, Bibl. Ars Nova, Nuova Serie, 1b. Commentary to the facsimile volume. Ars Nova, Nuova Serie, 1.
Lucca Special softcover edition. Bologna Q15 Museo Inter. Volume I: Introductory Study.
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Volume II: Facsimile. Ars Nova, Nuova Seria, 2. This manuscript is the largest international anthology of polyphonic music of the early 15th century. The three illuminations are an unusual luxury for a musical manuscript at this period. It was acquired by Padre Martini in and is a major treasure of his library in Bologna. About half of its compositions are unique; some others are shared with and complemented by the slightly younger Veneto manuscripts Bologna, Biblioteca Universitaria and Oxford, Canon. It is the most important source for the works of Zacara and Ciconia and for the early works of Guillaume Du Fay with 78 works, many of them unica.
About 50 composers are represented, including native Italians, and composers from the north who were sought after and made their careers in Italy. It is primarily a collection of mass movements mostly Glorias and Credos, and a few cycles and motets. Du Fay's Missa Sancti Jacobi was assembled as a cycle only here, and can now be linked with the humanist circle around the Venetian patrician bishop Pietro Emiliani of Vicenza, in which Q15 was compiled.