Copernico

Hi Odradek, it's been a while since we last spoke. I saw that in the meantime you've reviewed a lot of interesting stuff, not least this work, which I personally don’t know, but after reading and listening a bit to the samples you shared, it seems like a really interesting thing. Recently, I’ve been exploring other musical avenues, as I've already mentioned to JoP, but quality knows no genre, and here it seems that this is no exception. However, I’m happy to have a chat about music with some (if I may, let me say this) "virtual" yet "real" friends (I'm not sure if the last part I've written is correct, but it’s fine either way). Cheers.

Hello, first of all, I would like to renew my compliments for the choice of a composer who is not very well-known but is of considerable depth and intrigue. As for my current musical interest, it’s nothing particularly transcendental in the broadest sense, but very stimulating for me, as it is a field I have only just touched upon until now, namely lyrical music, more precisely opera in both its musical (and sung, obviously) and scenic structure. I have bought several complete operas (spread out over time to avoid overwhelming myself) and I am now listening to them with a slightly more serious approach, and I was particularly struck by Bizet’s "Carmen" (which is anyway well-known) and a superb "La Gioconda" by Ponchielli conducted by Votto. Now, what leaves me somewhat perplexed is the fact that for me, separating the theatrical experience of the opera from listening to the CD doesn’t seem very natural; rather, I appreciate the composition but feel that something is still missing. The interesting part comes now: since I am not able to evaluate the nuances of a tenor versus a soprano, I find myself about to see an opera for the first time (with immense enthusiasm) at the Teatro Regio, but fate has it that it will be performed "naked," for the first time in the history of this opera, "Turandot" by Puccini. What do you think?

Hello JoP, beautiful, beautiful, beautiful review! It's been a while since I've checked in on these pages, and of course the priority has fallen on you. So, just to exchange a few words, I must tell you that for the past three months I've been doing a "full immersion" in classical music, with a deeper study on "Operas," taking advantage of the rich and high-quality calendar of "Settembre Musica." I would love to review something that particularly captivates me, but honestly, I don’t have the foundation or the ability to do so (I’m talking about the operas), so I would at least like to discuss it with some "virtual" friends. I could have perhaps written this to you privately, but I believe the topic might interest someone else as well. Bye and see you soon.

The Tangerine Dream should be listened to, understood, and breathed in, even more than this extremely important musical period. Here I read a rather careless review that doesn't do justice to the work you've examined; I'm glad that at least you approached the group, but there are a few factual errors (though that's not important). What is worse is that there is no emotional connection conveyed at all.

Excuse me, Mr. Fripp, hoping that it is indeed you, in fact, I am certain that it is you, I wanted to ask you a question that has been swirling in my mind for a while. Do you still follow Bennett’s groups? If so, could you provide me with a bit more clarification about it? I can, in turn, give you any clarification on my revolutionary theory of the stars.

"Third World Man" tedious and heavy? I don't know if it's a matter of tastes or good taste here.

Andy Summers' mind-blowing guitar in "Shadows In The Rain" with all reverse guitar loops. You might say there's nothing strange about that; it's been used since the days of "Revolver," not to mention Fripp in the '70s. My intervention is mainly aimed at that audience (hopefully now in the minority) that hasn't understood what "Zeniatta Mondatta" really is, considering it "the least beautiful album by The Police." Let's not forget "Driven To Tears," where you can hear the first real flame on the snare (a hit with two sticks on the snare, not perfectly in sync), at least in the pop world.

More or less what I saw in Milan in March '91 at the Teatro Smeraldo, where I was struck by the rigor that Fripp demanded from his students even when they weren't playing, insisting that they keep their right hand resting on their leg with their palm facing up. Even there, the atmosphere was hieratic, and the students of that time were the various Trey Gunn and Pat Mastellotto of today, along with Patricia Leavitt on vocals, directly from Bennett's school of thought. A unique experience.

Superb album!

I was positively impressed by the group right from the start with the album "United," but to be honest, I thought it was a flash in the pan. I changed my mind with the next album "Alphabetical," a nice, light record with some pretty good ideas. I'm glad that, even if belatedly, some "big shots" in the music world have noticed them.