The context of creation: 
a room where a shy sun shines 
for a few hours.
Isolation.
The winter.
Uncertain times.
Stretches of hours.
Tensions.
I look at a candle.
it redesigns its shape as it wears out.

I Am the one who fuels the fire
I am the one who consumes it
I am flame
Devoured by itself.

Its glow
Like a wound in the dark.

----------------------

new edit made in 8/03/2024

some sample are made by vocal messages from: Ugo Pisco Lùmaia

here's the following link on his page

https://soundcloud.com/12-days-for-a-new-way?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Tra La Fiamma E La Cera (cattedrali In Rovina)

Tra Fiamma E Cera (cattedrali In Rovina)

Dorell

Third piece in a series of experiments to try other approaches:
'The Crystalline'. You're welcome to listen if you like, if you can.

Future III: The Crystalline

Orchestral Fantasy for Piano and Orchestra about the main emotions of our life.
The 4th and final part concludes with a combination of all Joy, Fear, Love and a Viennese waltz.

Season of Mind - 4. Coda

Remixé pour donner encore plus d'intensité sur la fin (traduit plus bas)
----
The compass in our hearts, now
Is spinning out of control, how ?
All calls have been dropped
All the signals stopped

In this moment of silence
(that slowly falls)
we crawl looking for a guidance
(to lead our souls)
All calls have been dropped
All the signals stopped

When we were in the sun
Risking our wings getting burned
We did not realise then 
We'd dug our future grave

When we bought everything 
And wasted all that it could bring
We started wondering in the heat
Who we were going to eat

In pixels and likes, we've grown, but
True connection remains unknown 
All calls have been dropped
All the signals stopped

With individualism's embrace
(that slowly falls)
We are strangers in the same space
(with lonely souls)
All calls have been dropped
All the signals stopped

When we were in the sun
Risking our wings getting burned
We did not realise then 
We'd dug our future grave

When we bought everything 
And wasted all that it could bring
We started wondering in the heat
Who we were going to eat

When we were in the sun
Risking our wings getting burned
We did not realise then 
We'd dug our future grave

When we bought everything 
And wasted all that it could bring
We started wondering in the heat
Who we were going to eat

When we bought everything 
And wasted all that it could bring
We started wondering in the heat
Who we were going to eat

All calls have been dropped
All the signals stopped


----

La boussole dans nos cœurs, maintenant
Tourne de façon incontrôlée. Comment ?
Tous les appels ont été interrompus
Tous les signaux se sont arrêtés

Dans ce moment de silence 
(qui tombe lentement)
Nous rampons à la recherche d'un guide
(pour guider nos âmes)
Tous les appels ont été interrompus
Tous les signaux se sont arrêtés

Quand nous étions dans le soleil
Risquant de brûler nos ailes
Nous n'avons pas réalisé alors 
Que nous avions creusé notre future tombe

Quand nous avons tout acheté 
Et gaspillé tout ce que cela pouvait apporter
Nous avons commencé à nous demander dans la chaleur
Qui nous allions manger

En pixels et en likes, nous avons grandi, mais
La vraie connexion reste inconnue 
Tous les appels ont été interrompus
Tous les signaux se sont arrêtés

Avec l'étreinte de l'individualisme
(qui tombe lentement)
Nous sommes des étrangers dans le même espace
(avec des âmes solitaires)
Tous les appels ont été interrompus
Tous les signaux se sont arrêtés

Quand nous étions dans le soleil
Risquant de brûler nos ailes
Nous n'avons pas réalisé alors 
Que nous avions creusé notre future tombe

Quand nous avons tout acheté 
Et gaspillé tout ce que cela pouvait apporter
Nous avons commencé à nous demander dans la chaleur
Qui nous allions manger

Quand nous étions dans le soleil
Risquant de nous brûler les ailes
Nous n'avons pas réalisé alors 
Que nous avions creusé notre future tombe

Quand nous avons tout acheté 
Et gaspillé tout ce que cela pouvait apporter
Nous avons commencé à nous demander dans la chaleur
Qui nous allions manger

Tous les appels ont été interrompus
Tous les signaux se sont arrêtés

All The Signals Stopped

Cats ambient

Man 2023

Graphikos

Marco Lucchi, based in Modena, Italy, and Henrik Meierkord, based in Stockholm, Sweden, have a lengthy collaboration to their reciprocal credit, and they accomplish it far and near alike. A testament to the interplay of their work together is that a listener might be hard-pressed to discern which of their recordings are the result of long-distance file-trading, and which occurred when the two managed to be in the same place at the same time.

Several aspects of their respective music-making serve them well as creative partners. First of all, both tend toward the ambient, given as they are generally to a slow pace and to a sensibility that manages to be at once radiant and intimate. Secondly, while both are multi-instrumentalists, there is a complementary nature to their specialties, Lucchi being more of a keyboardist, Meierkord more of a string player. Thirdly, and perhaps most importantly, they are both immersed in techniques drawn from electronic music.

In particular, both men are experienced with live multitrack recording, in which they process and layer their own performances in real time. Meierkord is fond of layering sinuous tones to create scenarios of unique dimensions. It becomes uncertain — even unimportant — to the listener what preceded what, so intricate is his deployment of interplay. Lucchi likewise finds parallels between classical orchestration and the opportunity for drones lent by modern synthesizers; in a small room he can create a vast space. There is often an oceanic depth to such efforts, part composed and part improvisatory, in which playing is a tool toward composition, rather than the other way around.

Throughout their new record, there is an underlying melancholy, a nostalgic beauty, and a reflective consideration — a virtue that is foundational to their ongoing collaboration. The result is particularly rich in plaintive scene setting, as on the glacially paced “La bestia umana,” which emerges from a neighborly field recording of a dog barking, and “Kosmisk Strålning II,” which maintains a dream-like quietude, more shadow than light. One “Like tears in rain”, what sounds like a synthesizer is, in fact, a piano, a recording of which has been stretched beyond the point of it being readily identifiable.

On first listen, their leaning toward unimpeachable steadiness can seem uniform, but listen more closely and you’ll recognize how explicitly they emote on a track like “The Third Stage,” due not just to the reaching melodic surges (which, in turn, match the sampled recordings of bird calls) but to the slight discordances that suggest trouble and tension. In a different manner, there is “A warm and golden October,” which balances breaking-dawn hush with piercing overtones. That track features a motif at the end, played on a celesta; those bell-like tones edge the piece out of dreaminess without entirely breaking the spell.

The greatest outlier — dog barking notwithstanding — may be on “Oändlig,” not just for its fierce pulse, but because of its more immediately electronic vibe. “Oändlig” is an exceptional piece, bringing to mind the minimalism of Terry Riley and the rave classics of Underworld.

Marc Weidenbaum 


Produced and mixed by Marco Lucchi and Henrik Meierkord
Marco Lucchi: mellotron, piano, celesta and synthesizers
Henrik Meierkord: cello, viola, zither, piano, organ and FX
Mastered by Dionis Afonichev (Dionisaf)
Cover picture by Dionis Afonichev (Dionisaf) with AI
Artwork and cover design by Dionis Afonichev (Dionisaf)

https://www.chitrarecords.com

Lieder Ohne Worte

Marco Lucchi & Henrik Meierkord - Like Tears In Rain

Vol.1 available @
https://engramrecordings.bandcamp.com/album/g-rczyn-high-rise-radio

"Phoenix Lights" (from "G​ö​rczyn High Rise Radio Vol.2", 2024).

Henry's song.  Dedicated to my son. In the spirit of trying new things and not quite having one's step.

Theory/Performance Notes: Written with 5/4 time signature (except for 2 4/4 bars). Otherwise major with some chromaticism. Ragtime influence? Beginner performance level.

First Steps

I am a professional mathematician and an amateur pianist and composer. I have many influences but impressionism is important to many of my compositions lately.

First Steps

Eric Lownes

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