This album is what it says, eight pieces of piano music recorded
in night sessions on a 1923 Steinway, along with strings, synthesizers,
and something called an Armenian duduk.
Needless to say, this is not driving music.
This is music for having friends over for wine and quiet conversation
– or perhaps for just having an evening alone with one
special friend.
The piano playing is delicate and beautiful.
The strings complement the music nicely, although I find they
add considerable sadness
to the beauty. Most pieces are sparse and slow, although track
four is a notable exception,
a more serious piece with occasional interludes of faster playing
with more discordant notes, interspersed with brief periods
of silence.
My favorite track by far is number five, a more ambient work
that keeps the piano in the background and relies more on atmospheric
electronics.
Track six is also interesting, a more experimental piece where
perhaps the piano samples
have been processed in some way.
The first half of the album makes me too sad, but it is very
well done.
However, I much prefer the later tracks as it gets more ambient,
leading up to the excellent closing track which blends piano
and electronics perfectly.
by Phil Derby - Electroambient
Space - USA 2008
"Piano Textures", the
latest from Bruno Sanfilippo, is a wonderful example of the
less is more school of recording, a stunning disc that revels
in creating a series of environments using only minimal instrumentation.
Largely based around live work using a grand piano with some
processing and sparse accompaniment, Sanfilippo has crafted
a powerfully emotive and beautiful disc.
Featuring minimal piano-based loops and patterns, Sanfilippo
masterfully creates mournful melodies that are delightfully
dark and haunting.
Tracks range from sparse tracks where piano is the only instrument,
to more complex works where metallic pads and a smattering of
strings add to the environment, filling out the sound but never
detracting or overpowering the delicate beauty of the piano
found throughout all of the disc's songs.
It's a disc of rich sounds and subtle nuance, where Sanfilippo
is able to alternate between deep atmospheric pieces like "Piano
Textures V" where tones are effected and processed to create
a spacey almost drone-styled environment, to the simple charms
of "Piano Textures VII" where the piano is played
organically and naturally.
Taken as individual pieces, Sanfilippo shows himself to be equally
comfortable in a variety of styles, and taken as a whole, "Piano
Textures" proves him to be a bright new star in the ambient
scene.
Dreamlike and emotive, by turns both very beautiful and very
sad, "Piano Textures" is a wonderful disc that showcases
Sanfilippo's talents and skills.
A truly wonderful work to become acquainted with this very talented
performer.
by Rik - pingthings.com - Canada Oct 2007. A wonderful melodic
ambient journey...
While a grand piano is the main
source for the sounds utilized on this release, strings and
duduk are also sampled and heavily treated to contribute to
the tunes.
This union results in a haunting mood that goes beyond melancholy
to inject brooding with a touch of optimism.
The piano serves as a focal point, expressing sedate chords
of accentuated desolation.
The strings, elongated and often flipped sideways, provide an
emotional counterpoint for that ponderous mood. Their classical
edge imbues the melodies with a vivid humanity,
a sadness that remains unemotional as it strives for an objective
vantage.
Synthesizers are also present, often producing a ghostly backdrop
tapestry for the
music's more prominent aspects.
These compositions explore a desire to temper despair with a
greater neutrality,
revealing the transience of depression and its skewed viewpoint
once the bigger picture comes into focus. Classical sensibilities
are fused with an ambient model, producing tunes that are modern
yet nostalgic. Surprisingly uplifting, all things considered.
by Matt Howarth - Soniccuriosity.com - USA sept. 2007
Bruno Sanfilippo continues to
impress/amaze me with Piano Textures, his most audacious recording
yet. Talk about truth in advertising, "Piano textures"
is more or less exactly what you get on these eight tracks,
achieved, in this case, on an 84-year old Steinway, sampled
and manipulated via sustain and other studio magic. Besides
piano, there is a sampled duduk (an Armenian wind instrument),
as well as sampled strings and some synths too. The recording
earns its title Piano Textures because it's the piano's "textures"
that grab a hold on you and crawl into your subconscious mind,
evoking emotions from profound sorrow to fear to solemnity and
reflection and, by the end, reflection and serenity.
This is an intricate yet primal album, appealing equally to
the intellect and to the primitive ego self.
Tracks are titled "Piano
Textures" followed by the appropriate Roman numeral.
"I" features a forlorn minimalist piano refrain
on both the lower and upper registers, accompanied by a wailing
tone that is "pretty" yet subtly scary at the same
time.
In mood, this cut and the next two are similar to Mychael
Danna's more melancholic work on Skys, crafting a sense of
isolation, foreboding and unease. "II" strips away
the more abstract sounds/effects, leaving the densely echoed
piano to be accompanied by warm tones from a sampled cello.
Again, the overall emotional impression is of pervasive sadness.
Sparse synths in the background lend some added depth. "III"
evokes the strongest comparison to Danna's Skys, with a delicate
series of echoed piano refrains (here, the piano could also
be compared to Tim Story's music) along with sampled duduk
and bowed bass.
Somber doesn't even begin to describe the tone of this piece,
yet it's intensely beautiful
as well. "IV" presents abstract, somewhat atonal
and dissonant (at times) solo piano
which veers from sparse and minimal to miniature explosions
of intense drama.
I usually loathe experimental avant garde music but this track
really does it for me.
The music is creepy/scary (if you don't think of walking through
a deserted haunted house, you haven't seen enough ghost movies!)
and yet immensely compelling. "V" begins in an ambient
vein by "texturizing" the piano more through deeper
sustain. Here, the mood is peaceful and more in keeping with
the traditional ambient oeuvre (e.g. Eno or Budd).
A warm drone/tone accompanies the extremely minimal piano
notes (the drone may actually be echoed sustain for all I
know).
Of the remaining tracks, "VI"
contains warbling quavering tones, whistling synths and shimmering
bells but all of them, while draped in shadow, still manage
to be relatively calm (those bell tones can be disquieting
though). "VII" comes closest to being a straight-up
ambient piano piece, with the only noticeable additional effect
being that incredible sustain period, although some sparse
synthesizer may be present at the periphery, and "VIII"
is an airy spacious exploration of a frozen landscape, evoked
through the delicate piano notes that seem to hover in mid-air
surrounded by lots of drones/textures/noises imparting the
vision of a vast stretch of land before you.
The counterpoint of the "warm" piano notes set against
the cold barrenness of the accompanying other musical/noise
elements is particularly evocative.
With this release (as well
as his previous effort, the overlooked and brilliant InTRO)
Bruno Sanfilippo clearly stands apart from many other ambient
artists recording today.
Frankly, I'm in awe of his unique musical vision and the singular
direction his music is taking in these last two recordings.
Whether or not ambient music fans can appreciate Piano Textures,
I personally think this is an amazing piece of work and consider
it one of the finest albums so far this year and staggeringly
original in overall concept and execution.
My highest recommendation. Rating: Excellent by Bill Binkelman
-New Age Reporter USA 2007
Bruno Sanfilippo, the Argentine
multi-instrumentalist who lives and works in Spain, has experimented
with pianosounds on earlier albums (amongst others on his last
InTRO, as reviewed in iO Pages #68). However, this CD almost
only contains the sound of the piano
(for those interested: a Steinway model D from 1923), accompanied
by samples from stringinstruments and some contributions on
synthesizer.
The CD has eight parts: Piano Textures I until VIII. The first,
almost silent, notes immediately call on an idea of the albums
that the grandmasters in this area, Harold Budd and Brian Eno,
have created. Sanfilippo's sounds are simple but full of beauty.
In the second part a fine sample of a cello can be heard, next
to a wonderful calm melody.
At the moment, the piano does well in filmmusic: many composers
use slowly moving moody pictures to represent certain emotions.
The third track could have come out of a film. Sometimes Sanfilippo
slightly experiments, like in the fourth part.
The sixth and seventh pieces could almost be called minimal.
In my opinion, the last composition is the highlight. This is
a wonderful track with an intense, great, atmosphere.
In my reviews I have often declared my admiration for the music
of Bruno Sanfilippo and also in this quiet setting this is again
the case.
by ©2007 Paul Rijkens, Dutch progressive rockmagazine
iO Pages.The Netherlands 2007
“Piano Textures”
is an introspective album which offers center stage for the
processed sounds of a Grand old piano from 1923, accompanied
by some synthesizers, duduk and samples of strings. All eight
tracks have a more or less cinematic impact, their sounds
tap from some kind of subconscious source, breathing a sense
of melancholy that was also found in his former recordings.
Personally I find the third part the strongest exercise with
its uplifting timbre and warm duduk and stringsounds.
In all, this is very well executed music for the mind to make
things settle down.
Well done Bruno! by Bert Strolenberg - former journalist
E-dition mag. The Netherlands 2007
STYLE
A suite of eight haunting piano ambiences laden with lush sustain.
Piano Textures is built around the rich, uncluttered sound of
a solo Steinway lady grand piano supported by a variety of strings,
synths and the unique strains of the duduk. Minimal melody lines
unfold in unhurried patterns - delicate, resonant - sometimes
brief phrases repeating with variation of intensity, structure,
emphasis or perhaps with the supporting sounds subtly altered.
Sometimes the sonic air is thick with reverberation, the piano
accompanied by its own ripples, low notes almost rumbling, eerie
effects keening in the distance. The processed notes seem to
become increasingly tuneful as the album progresses - yet never
overly so - always restrained.
Sleeve notes explain that the compositions are arranged in chronological
order.
MOOD
Bruno Sanfilippo plays with an elegant simplicity that is
a true delight to hear - restful arrangements that soothe,
enchant and absorb the listener. Many of the tracks have a
melancholy feel that is all the more doleful in such sparcity
of expression.
This introspective sadness becomes almost tangible at times,
in some of the more melodic
parts there is a beautiful aching sensation. There is also
a brooding, ethereal quality often present - the atmosphere
both powerfully intense and delicate at the same time.
ARTWORK
The front cover image initially hits the eye as a glowing
abstraction in orange/red - on closer inspection swirls of
hair, fabric and ambiguous colour present a variety of visual
textures.
On the rear, another red texture image is montaged with a
faint window photograph - here is a simple track list with
associated timings. Inside the sleeve opens to reveal a muted
portrait of the artist positioned at ninety degrees to the
text that could almost be missed on first glance. Here we
find some explanatory notes, a dedication, credits and contact
details.
OVERALL
Piano Textures is the latest in a growing list of powerful
instrumental releases from Bruno Sanfilippo - Sons of the
light [1991], The New Kingdom [1995], Solemnis [1998] Suite
Patagonia [2000], Visualia [2003], Indalo with Max Corbacho
[2004], ad Libitum [2004], Anthology 1991-2004 [2005], InTRO
[2006], Piano Textures [May 2007]. This album presents the
sounds of the piano "sampled by post musical instruments,
with 10 recorded velocity layers with 10 separate sustain
pedal down layers and release triggered samples". The
results are truly amazing - lush, evocative compositions that
fill the minds eye with associative imagery. The recordings
were made at night and the tracks reflect this nocturnal influence
throughout.
WHO WILL LIKE THIS ALBUM
Piano Textures will appeal to anyone that enjoys atmospheric
ambience with just enough melody to touch the heart. If you
enjoy processed piano minimalism don't miss this one.
by Morpheus Music - UK
2007
Erik satie a ouvert la voie à
ce qui sera exploré par la suite par le
concept "ambient", De Brian et Roger Eno à
Harold Budd. Bruno Sanfilippo est le
digne successeur de ses ainés mais s'approprie le genre
et le rend plus
émotionnel moins formel.
On pense indiéniablement à un film imaginaire.
On se laisse porter par ses
flots de mélancolies et de rêveries.
Des samples instrumentaux ethniques s'immissent parfois.
Piano textures IV revêt une couleur plus contemporaine
qui m'évoquent les
compositeurs du début 20ème siècle (Debussy,
Ravel...) ou même Margaret Leng Tan.
Un disque aussi indispensable que " lovely Thunder"
et" White arcade" de
Harold Budd.. indispensable!!! by
Thierry Moreau - France - July 2007
The
Argentine with the keyboard touch has always favored the sound
of the piano.
By adding a variety of treatments and synthesizer effects, Bruno
has come up with a release that echoes of Harold Budd in terms
of spatial feel and textural approach.
For those who fear "too much piano" you will find
a smooth yet atmospheric arena
in which to immerse yourself. For those who have awaited Sanfillippo's
move away
from the layered synth sound, the wait is over and the rewards
are very fulfilling.
by
Lloyd Barde- BackroadsMusic - USA 2008
The sequentially titled pieces
in Piano Textures, by the Argentine contemporary composer,
Bruno Sanfilippo, are nothing short of a gorgeous composition.
Period. Simple and elegant, mesmerizing and haunting, the
multi-velocity sampled 1923 Steinway shines as the most versatile
instrument in the ensemble.
And it shines in the hands of Sanfilippo, who received a degree
as a Music Superior Professor in the Galvani Conservatory
in Buenos Aires. In his evenly paced recording, Sanfilippo
gently strokes the hammered strings with a touch of reverse
reverb, Armenian duduk and a pinch of synthesized sound. Releasing
on his own label, ad21music, which Sanfilippo runs with fellow
composer, Max Corbacho, the sessions recoded during the nights
of March '07, fall somewhere between ambient, modern classical,
and pure meditation music.
This is not your background music. I absolutely love turning
up the volume, and letting every hypnotic and melancholic
note weep gently through the night. For the lovers of Max
Richter, Eluvium, Rafael Anton Irisarri, and Zbigniew Preisner,
I highly recommended this gem! Favorite textures : III, VI
and VII.
by Headphone
Commute
Enchanting,
enigmatic and fully capable of powerfully awakening our imagination.
Thus is this new disk by Bruno Sanfilippo.
Combining in a very skillful way the basic approaches of Ambient
with the sonorities of Classicism, these latter presided by
the use of the piano as a soloist instrument, the composer succeeds
in weaving lonely sceneries, in some occasions turning melancholy
even, where beauty and mystery become intimately merged.
Although the piano has a remarkable prominence for most of the
time, the artist adequately accompanies it with other instruments
and sound accompaniments, which enriches the quality of the
music. Alejandro Hinojosa - Amazing
Sounds - Spain 208 |
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