Piano technician: Giulio Passadori https://www.passadori.it/
Satie Gymnopedie 1 Erik Satie composer of Gymnopédie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds") preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. Erik Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd. The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie Gymnopedie 1. The word gymnopédies was derived from a festival of ancient Sparta at which young men danced and competed against each other unencumbered by clothing, and the name was a (presumably) droll reference to Satie's gentle, dreamy, and far-from-strenuous piano exercises. Satie’s vision of the piano’s strengths was minimalist and abstract. The mood of the three works is stately and serene, almost drifting from one moment to the next. Each of the three examines a common theme from a different perspective. Claude Debussy, who was an older contemporary and a friend, later orchestrated Gymnopédies No. 3 and No. 1. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedie are regarded as the precursors to modern ambient music[citation needed] - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality.
Satie himself used the term "furniture music" to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them. (Source: Wikipedia)
Satie Gymnopedie no1. Erik Satie Gymnopedie 1.ESPACE COSMIQUE - Hommage à Vangelis - ALESSIO NANNIAlessio Nanni2018-11-12 | Espace Cosmique is a contemporary electronic work for piano, orchestra and synthesizer composed by the italian composer Alessio Nanni. An open love letter to the golden age of electronic music which inspired generations with epic sci-fi scoring such as Blade Runner. A tribute to Vangelis. Dedicated to the greek composer Vangelis, endless source of beauty and inspiration.
Recorded and produced by White Noise Factory London, November 2018
Shot between Los Angeles and Zurich. Piano: Steinway & Sons Camera: SONY NEX5 Produced by White Noise Factory, LondonAlessio Nanni Live StreamAlessio Nanni2017-02-13 | ...ERIK SATIE Gnossienne 4 - Alessio NanniAlessio Nanni2015-11-06 | Erik Satie Gnossienne 4 performed by Steinway Artist Alessio Nanni, piano, Italy. Gnossienne nr.4 by Satie, one of the most mysterious composition by the genius of Erik Satie, dated 1891. Satie's coining of the word "gnossienne" was one of the rare occasions when a composer used a new term to indicate a new "type" of composition. The word appears to be derived from "gnosis"; Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes.[citation needed] However, some published versions claim[citation needed] that the word derives from Cretan "knossos" or "gnossus" and link the Gnossiennes no 4 to Theseus, Ariadne and the Minotaur myth.
Recorded in super high definition 96khz/24bit at WHITE NOISE FACTORY, 2014. Piano: Klingsor Piano technician: Giulio Passadori www.passadoripianoforti.it www.alessionanni.comMORNING WAVE - LOS ANGELES - Alessio NanniAlessio Nanni2014-04-24 | Video shot in Los Angeles, CA. Instant editing in one day.
Produced by WHITE NOISE FACTORY Published by http://jinglepunks.comLONDON TIME LAPSE - Alessio NanniAlessio Nanni2013-11-16 | London time lapse project called THE ANALOG SKY is a short time lapse movie directed by Alessio Nanni. Shot in September 2013 in London UK, The Analog Sky is entirely shot in London and relized in time lapse. 5 days no-stop London shooting. More than 6000 pictures shot on Nikon D300s Camera for a super high quality time lapse. 4 weeks of post-production for 3 minutes of stunning photographic quality and emotional time lapse visuals of the sky of London, UK.
"The strongest analog synthesizer setup I ever made for an original scoring music frames this time-lapse production as a rendering of a perfect, electrifying day in London".
This piano work unquestionably represents the beauty of darkness in one of Liszt's most intriguing rendering ever. Unexplainably this Ballade is also one of his great neglected piano work ever.
This piano work is based on a Byzantine myth, 'Hero and Leander', relating the story of Hero, a priestess of Aphrodite who dwelt in a tower in Sestos on the European side of the Dardanelles, and Leander, a young man from Abydos on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of her tower to guide his way. Succumbing to Leander's soft words, and to his argument that Aphrodite, as goddess of love, would scorn the worship of a virgin, Hero allowed him to make love to her. This routine lasted through the warm summer. But one stormy winter night, the waves tossed Leander in the sea and the breezes blew out Hero's light, and Leander lost his way, and was drowned. Hero threw herself from the tower in grief and died as well. Liszt's ending definitely is not a tragic one, though. There is certainly a storm at the end as the soaring waves of the Hellespont and the love duet commingle, but one way or another they make it out of the storm.
Recorded on may 1st 2011 at Passadori Steinway Hall - Brescia Produced in collaboration with passadoripianoforti.it. Video release date : 6/6/2011
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Piano technician: Giulio Passadori Logistic supervisor: Flavio Gheruzzi Piano: Steinway & Sons, Concert Grand mod. D Recorded in super high definition: 96khz/24 bit technology.
Special thanks to: Simona Passadori.
This video in hd format is iPad 2, iPad 3, iPhone 4, iPhone 5 Android ICS ginger bread devices compatible.
Starting from this suggestion I worked on a pure programming languages to built a completely new machine that translated the audio signals into colors and shapes, in a very pictorial way. In this way the visual part is acting and reacting with the music in a very powerful way. Video release date & time (Italy, GMT+2:00): 01/10/10 -- 00:01:00
This first Scherzo by Chopin takes A-B-A-Coda form and begins with two chords in fortissimo. At tremendous speed, a series of dramatic outbursts in the B minor tonic follows. Near the center of the piece, the music leads into a slower section in B major; finally one hears a tangible melody in the middle register, surrounded by accompaniment in both the left and upper right hands. Chopin clearly quotes in this section of the composition from an old Polish Christmas song (Lulajże Jezuniu); tempo is marked as Molto Piu Lento. The B major area dissolves as the harmony mysteriously changes character via secondary dominant. The two chords from the very start reappear, superimposed over vestiges of the middle section. Then the beginning presto repeats itself in the familiar minor tonic. The lead-in to the dramatic, virtuosic coda is similar to the approach toward the Molto Piu Lento, but slightly different (as it is with Chopin's Second and Third Scherzi also). This final section incorporates dizzying arpeggiated flights up and down almost the entire keyboard, suspended by a climactic series of nine ten-note chords (E# diminished seventh (with diminished third), augmented sixth chord in root position, secondary leading-tone chord of tonic B). After the resolution and a rapid chromatic ascent over four octaves in both hands, the coda and piece come to a triumphant end via a bold minor plagal cadence.
Recorded on december 8th 2010 at Passadori Steinway Hall - Brescia Produced in collaboration with passadoripianoforti.it. Video release date : 23/12/10
IMPORTANT NOTICE: We suggest to wait until the video is fully downloaded before start watching.
Piano: Steinway & Sons, Concert Grand mod. D Piano technician: Giulio Passadori Recorded in super high definition: 96khz/24 bit technology.
Special thanks to: Giovanni Doria, Giulio and Angela Passadori, Simona Passadori, Flavio Gheruzzi. This video in hd format is iPad 2, iPad 3, iPhone 4, iPhone 5 Android ICS ginger bread deavices compatible.
IMPORTANT NOTICE: We suggest to wait until the video is fully downloaded before start watching. Please fullscreen it.
Produced by WHITE NOISE FACTORY Piano: Steinway & Sons, mod. B This video in hd format is iPad 2, iPad 3, iPhone 4, iPhone 5 Android ICS ginger bread devices compatible.
The beautiful Nocturne No. 20 in C-sharp minor op. posthum is also described as lento con gran espressione and was composed by Frédéric Chopin in 1830 and published in 1870 after his death, hence the op potshum. The nocturne in c sharp minor was published 26 years after the Chopin’s death, the piece is usually referred to a tempo indication “Lento con gran espressione”, from its tempo marking. The nocturne in c sharp minor became famous to the big audience once was featured in the film “THE PIANIST” Wladyslaw Szpilman, referring an historical fact: actually the piece was famously played by Holocaust survivor Natalia Karp for the Nazi concentration camp commandant Amon Goeth, with Goeth being so impressed with the rendition, that he spared Karp's life. Chopin dedicated this particular composition to his sister Ludwika Chopin with the indication: "To my sister Ludwika as an exercise before beginning the study of my second Concerto". Chopin perfromed by Alessio Nanni, the Nocturne No. 20 in C-sharp minor Op. posth. tempo indication for the nocturne is Lento con gran espressione, the nocturne in c sharp minor is a solo piano piece composed by Frédéric Chopin in 1830 and published in 1870. Chopin dedicated this work to his older sister, Ludwika Chopin, with the statement: "To my sister Ludwika as an exercise before beginning the study of my second Concerto".First published 26 years after the composer's death, the piece is usually referred to as Lento con gran espressione, from its tempo marking. It is sometimes also called Reminiscence. The piece was played by Holocaust survivor Natalia Karp for the Nazi concentration camp commandant Amon Goeth, with Goeth being so impressed with the rendition that he spared Karp's life.