Hal

Ah ah ah :)) thankfully the sea protects me then ;))) anyway, to help you understand what I mean by continuum, if you send me the address with mydeb, as soon as I have time I'll send you a copy of "In C" and "Music in 20 parts," the latter being 4 CDs, that way mom will forgive me. Bye :)

I want to reiterate: the review is misleading. "Nyman is someone who knows how to do minimalism really well." This sentence closes your review and, in my opinion, it is out of place in the context of discussing this album, because it leads one to believe that the album belongs to a specific movement, while I do not think that is the case. I hope that is clear now. Then in the comments, you say "... it chases and repeats the same theme." This sentence, if I'm not mistaken, highlights a concept supporting the idea that this is minimalist music for you. It seems clear to me that we are not in agreement. This album, for me, does NOT belong to the minimalist movement; the reasons are written. I believe it is fair for you to have a different opinion. But explain to me – if you want – why this album fits within the repetitive music movement. I believe I have told you why, in my opinion, it is unrelated. But don’t make me get scolded by mom, otherwise the next review I write will be "great album, great review," and I'll just slip away ;)))

Of course (it's worth reiterating) these are just O P I N I O N S of mine, so they're highly debatable... I believe this space has that function, or at least I hope so. Bye.

No Enea, the problem is not where you think it is. I don’t mean to be polemical, it’s just that for me the review is misleading. Minimalism is not just a simple repetition. It is based on the idea of a continuum generated by microscopic melodic variations over stretched periods of time. "In C" by Terry Riley is a minimalist work, as are "Music in twelve parts" by Glass and "Music for 18 musicians" by Reich. These, among others, have emphasized rhythmic overlays. Furthermore, minimalism for a long time relied on unusual sounds, from electronics to handclaps. The Piano by Nyman, in my opinion, strays from this path, which quickly fell into a crisis anyway. A young school that didn't have broad development opportunities if today we’re already talking about post-minimalism. You yourself use a term (Struggente) that might be more fitting to describe romanticism than repetitive music. The fact that Nyman later derived a piano and orchestra concerto from these themes should give one pause. In my view, other works by Nyman, such as the quartets (also published by Argo with the Balanescu Quartet), belong to the minimalist movement as well, even though they are influenced by popular music. I believe Nyman is not a minimalist composer today; he was, but his subsequent influences have roots elsewhere. Just listen to the theme of the soundtrack for the film Carrington... how can it be called minimalist? The same goes for this album, which is not minimal. The repetition of a theme is not enough to label music as minimalist. "In C" starts from one note; it's like a pendulum that moves continuously, and suddenly, without you noticing, an overlay occurs, and everything changes. No, Nyman's music (for me) does not exhibit these characteristics in this case. So, would that mean Brahms is a minimalist too because in composing his symphonies he started from a micro melodic cell that he continuously varied...? In the end, it’s the exact opposite. I’m sorry, but I do not agree with the minimalist label attributed to this music. By the way, and I’ll wrap up, when we talk about Italian pianists, why is it that we only think of Ludovico Einaudi and not, for example, Arturo Stalteri, who has interpreted many important musical pieces like Glass's Metamorphoses for solo piano? Finally, and now I really am closing, I wouldn't give much importance to those who label "cultured" music with a "che palle," because often they don't even know what they're talking about. They fill their mouths with adjectives like "flabby" when they would be more appropriate to define the poverty of their thoughts (and excuse my moment of snobbery, but when it's necessary, it’s necessary...). So Enea, trust me, those people don’t even deserve your irony.

Well... the first paragraph seems insignificant, the continuation of the review is honest, and the conclusion connects back to the first paragraph in its lack (or dubiousness) of content. The whole is very confusing, and I believe you state some things that are not entirely accurate. Although Nyman started from repetitive music and even coined the term "minimalism," it does not mean that everything he composed can be directly linked to this movement, whose success I think is more attributable to Riley, Reich, and Glass, even though Nyman himself was a prominent exponent. This album, in terms of emphasis and melodic characteristics, I believe has little to do with minimalism. This is also shown by the fact that later Nyman derived his "Piano Concerto" from these themes, published by Argo, which in form and content appears distant from repetitive music: the use of the piano with more melodic than rhythmic connotations seems to detach this music from minimalism. It is more interesting to ask why this happened. According to many, this musical language was inherently incapable of developing beyond a certain limit. Some, exaggerating the concept, argue that it is born and dies with "In C" by Terry Riley. What followed was just the long wave of a cultural movement, a "repetition" in short.

A great record that I'm savoring slowly like a good wine, but I knew nothing about these musicians, so the review comes in handy. "Morbidly fascinating" says a lot about this music. I would also add "disorienting." The packaging of the box is nice too.

Yes, beautiful city Lugano and a review that conveys smiles :)

Not long ago, someone lent me an album by this band along with a meticulously curated photography book—quite unsettling. I don't remember the title very well... it was "la chambre ..." something like that. The person who lent me the album said, "listen to it when you're in a good mood and want to let it pass." Indeed, it's certainly not sunny music. I thought (hoped?) that amidst all this darkness there might be at least a subtle light of irony, but I didn't see it, so perhaps they’re not for me. The review, however, reflects the little I know about this band. Bye.

"And running, he met her down the stairs / almost nothing seemed changed in her / sadness then wrapped us like honey / for the time that slipped by us two..." Incontro is one of my favorite songs not only by Guccini but in Italian singer-songwriter music because it's a painting. In a few words, Guccini manages to create a situation and enrich it with a sense of memory that sometimes betrays longing. And what about "piccola città"... that striking beginning "piccola città bastardo posto appena nato ti compresi ma fu il fato che in tre mesi mi spinse via..."? And "Il vecchio e un bambino"? A text from the early '70s, you wouldn’t say it by listening to it. For me, this is a beautiful album from start to finish. One of those albums that never grow old. Another shared piece of our music collection, Grass. On the topic of Guccini's music, I agree with you.

yeeeh it's an order, it's an order... yes, it's that easy, it takes no time, then what do I put in the microwave? Breakbeat Era cardboard? :))))) Then around my place, they don't sell used records and even if they did, I’d hardly find these gems. I'll keep it in mind for fat cow periods ;)) I have an Excel file full of records to buy according to a priority scale, I’ll place this one in the top twenty and in the meantime, I’ll enjoy the samples (by the way, did I tell you that you’re useful?). Bye :)