يا اخي جنون ! بني آدم يرمي نفسه بالكامل داخل حُفرة لهب

Last track of my upcoming album 'A Love Story'.

The musical motifs, patterns, etc, are closely related to several of the other songs that make up the album.

Thanks for listening.

Cheers!

Epilogue

Stop, Don't You Hear The Screams?

Closer, Still

Sans Souci

"Caelum non animum mutant qui trans mare currunt. (They change their sky, not their soul, who rush across the sea.)" -Horace.

https://open.spotify.com/album/18iFx7lyYG6DqtA7OtQ5nx
https://slowmeadow.bandcamp.com/album/those-who-rush-across-the-sea-you-felt-like-home

Photography / design: Fran Rodríguez
https://www.facebook.com/lacabezaenlasnubes/
Animation: TheGlitch
https://www.facebook.com/theglitch.og/

Those Who Rush Across the Sea

Piano solo piece from my new album "Carnet de Voyage", released on October 26 2018, with Memory Recordings.
© 2018 Dominique Charpentier. All rights reserved
© 2018 Memory Recordings. All rights reserved
Photo by Laurent Pistiaux: http://cargocollective.com/laurentpistiaux

Carnet de Voyage

Raz Blanchard

I visited the Jewish Museum in Berlin a week ago and I felt overwhelmed since I walked in the first corridor.
The Memory Void, one of the symbolic spaces on the ground level of the Libeskind building, includes the installation Shalekhet (Fallen Leaves) by Menashe Kadishman. More than 10,000 faces with open mouths, cut from heavy round iron plates, cover the floor of the ground floor void.
Menashe Kadishman’s sculptures stir painful memories of the victims of war.
The soundscape you hear within the composition is a recording I made in the Void of people stepping on the iron plates.

10,000 fallen leaves

10,000 Fallen Leaves

Oskar Schuster - Les Soirs

Music for piano.

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The Other Side

Taken from my Autumn Stories album, Digipack Edition.

Week #5 (Piano solo)

Conversation with myself

Watch the official video: https://www.youtube.com/watch?v=ECs3SVQExkI&

Spotify

Detuned Love

It is fitting that composer and pianist Fabrizio Paterlini was born and lives in the ancient northern Italian city of Mantua. A romantic and historically significant centre of musical and artistic excellence, the city’s elegance and cultural depth permeate Paterlini’s exquisite original solo piano compositions. Yet despite Mantua’s unavoidable influence in informing the composer’s work, his cinematic music is far from localized, or even recognizably Italian, instead tapping directly into universal human emotions.

Listeners and critics alike are torn as to how best label Paterlini’s beautiful sound. Neo-classical, Ambient, Minimalist and New Age have all been considered, but it is more pertinent to note some of the adjectives regularly used in appreciation of his sonic palette. Ethereal, soulful, lush, emotive, dreamy, delicate and, tellingly, passionate, all appear with unerring frequency. The composer himself describes his work as “like a glass of red wine on a summer evening,” in awareness of the calming effect of his reflective melodies on the listener.

Paterlini began playing piano at six-years-old. From the first moment he stroked the keys his life irrevocably changed, music becoming “a choice made every day...explored in all its aspects.” And so music and his life’s path became, and remain, inextricably linked; while he progresses as a musician and composer, so his development as a human being runs parallel. Formal study in his chosen artistic endeavour came with five years at Campiani’s Academy, Mantua’s Academy of Arts, from where he graduated in Music Theory.

The 1990s saw Paterlini extensively cutting his teeth as a gigging musician by performing rock classics, pop and jazz in local bands. While playing with these outfits he began to compose music, at this stage principally material of a progressive rock persuasion. As the decade and century drew to a close Paterlini reached an important decision, being to concentrate exclusively on the piano – the instrument that, in his own words, “best expresses his inner world.” Yet it was not until 2006 that he began composing music for solo piano.

In the following year his life’s musical journey took a momentous step with the release of his debut CD, Viaggi in Aeromobile (Travel in Aircraft) on the Music Center label. A collection of beautifully structured, graceful mood pieces displaying Paterlini’s natural touch and seemingly effortless talents, the release was warmly received in Italian specialist press. 

2008 saw the issue of an EP previewing Paterlini’s sophomore full-length, Viandanze, which was to follow on his new Fabrizio Paterlini Records imprint in December, 2009. In the interim the 8-track Remixed collection, offered as a free download on his website, presented the composer’s material as subtly reworked soundscapes, comfortably easing them into cogent chillout territory. Viandanze was partially funded by donations from Paterlini’s burgeoning fanbase, and performed in 2010 at Teatro Verdi in Mantua.

Prestige festival appearances then preceded the 2010 release of the flawless Fragments Found CD, again on Paterlini’s own label, drawing comparisons with luminaries such as Ludovico Einaudi, Erik Satie and George Winston.

2011 saw the issue of the double CD set “Fragments Found + Viandanze”, published under the Japanese label Inpairtment/P*DIS. 
During the Fall of the same year, he started working to his “Autumn Stories” project, by composing, recording and releasing on-line one song for each week of the Autumn season. The project resulted in the CD “Autumn Stories”, published in February 2012. 
 
The increasing number of fans sharing his music on the net, led him to “Piano_Anders #3” Festival in Hasselt (BE) in the month of February 2013. Two months later, he released his new full album “Now”, followed by an exclusive release in Japan (P*DIS). This release, acclaimed by specialized magazines as Headphone Commute (US) and A Closer Listen (UK), will bring him to tour Russia in the month of November 2013 and Japan in the month of January 2014.


Conversation with myself

Fabrizio Paterlini

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