Name: Temenos by eleanorstrings
Duration: 6 min 6 s
Description: An improvisation between Tara Jaff and Eleanor Turner on a riff that Tara created. The unique sounds of the cross strung harp and the folk harp, nails and finger tips, Kurdish style and western style, combining to create an intricate texture.

Please support and buy this album here:
http://shop.diatribe.ie/album/grigio
like my Facebook page:
https://www.facebook.com/francescoturrisimusic/
subscribe to my newsletter:
http://www.francescoturrisi.com

From Francesco Turrisi's album "Grigio". Diatribe Records
Francesco Turrisi - piano
Dan Bodwell - bass
Sean Carpio - drums

special guest: Clara Sanabras - vocals

Che Si Puo' Fare (B.Strozzi)

Something Sleeps 

Mountain Blood

I love the laughter in this track - it reminds me of a really happy few days working with my friend and colleague, Angela Moyra - beautiful woman and fantastic song-writer, but the giggles that we had - so much fun! I can't wait to work with Angie again.

Bubbalu by Angela Moyra, fun live version in mama's restaurant, Zaandam, March 2014

According to ancient tradition, Sappho was the inventor of an instrument by the name of “pēktis”, or the first Greek poet to use this instrument which originated in Lydia, seems to have been a kind of lyre, and is mentioned in one of the fragments, although without any kind of description.
A large proportion of the surviving poetry of Sappho (c. 630-570 BCE) is preserved in the form of narrow papyrus fragments, resulting from the manuscript being torn into strips for binding mummies in Egypt. The text used in this composition is numbered in the extant works of Sappho as fragments 88a and 88b. Not enough of this poem is preserved for the reader to get an overall idea of its subject matter – not one line is complete, and not all lines contain even a single complete word - and what remains has the quality of disjunct glimpses into intimate secrets, perhaps as if intermittently overheard.
However, the metrical structure of the 28 lines (which may or may not be the complete poem) is known, so that the remaining words and syllables can be fitted into it with a certain degree of accuracy, and this composition is based around these 28 units, each consisting of 16 events (syllables) divided into short and long durations according to the metre, with the fragments of text occurring at their original metrical positions so far as I’ve been able to work these out. (One complicating factor is that in the metre of this poem, called “acephalus hipponactean with a double choriambic expansion”, the first syllable of a line may be short or long...) The durations of the lines are regular at the beginning and become more irregular as the music continues, and the distinctions within them between “short” and “long” durations undergo more complex evolutions, although both categories generally become longer in the course of each line. Against this framework ,of 28 lines each of 16 events, is placed a repeating series of 32 times 14 diatonic pitches (each diatonic pitch class twice) distributed through the entire range of the harp, whose actual identity at each iteration is “modulated” by gradual changes in pedal settings, which in turn cycle through all the available modes containing both a cluster of three semitones and a cluster of four semitones. Thus the harmonic colour of the music is always changing but at the same time remaining consistent in character. The 16 events in each line are assigned to a sequence of 16 sound-types (harmonic, glissando, chord, counterpoint and so on) although only 8 of the 16 events in each line follow this scheme, a different selection each time, the others being freely realised. The vocal pitches used for the text generally involve taking the harp pitch assigned to the event corresponding to a particular syllable, and transposing it into the range of the voice, taking into account the tonal character of ancient Greek. Silences between the lines grow very gradually shorter towards the centre of the piece and then expand rapidly
- Richard Barrett

Recorded at Zepter Museum, Belgrade, 15 August 2023.

Richard Barrett - pēktis

Sung by Capella Duriensis, 11-10-14 live in Mosteiro de Mancelos.

Vicente Lusitano - Heu Me Domine

The rain falls and the heart yearns for peace.

Longing

Waves lapping against the shore and strumming harp chords emerging from the depths of the sea.

Waves

An improvisation between Tara Jaff and Eleanor Turner on a riff that Tara created. The unique sounds of the cross strung harp and the folk harp, nails and finger tips, Kurdish style and western style, combining to create an intricate texture.

Temenos

Slow and Spacious

Alice in Wonderland, written for electroharp and loop station.

Temenos

eleanorstrings

Related tracks