Brian Eno, clouds of music at the Royal Palace in Venaria Reale

Venaria stands majestically in the countryside near Turin, and is a triumph of beauty, thin, yet so tangible in his living material with stucco and gold (Venaria Reale was a residence of the Royal House of Savoy – UNESCO World Heritage Centre).

It’s a sunny afternoon, just too full of light, when we meet Brian Eno in the Great Gallery of Venaria, where Saturday, July 7, from 21, the guru of ambient music presented to the public his new sound installation, part of the festival experiential , designed for the exclusive use of the huge hall of the stately palace and its visitors.

12 Seasons. Music for the Great Gallery of the Palace of Venaria, the title of the new work by Eno, is composed of two tracks sound the hour divided into twelve sections, where the system uses only four speakers, two placed at the entrance and two at the exit of the Gallery, with the fronts sound directed toward the center of the room.

“To get to this final solution I had to deal with many different attempts and failures,” admits the former Roxy Music, surrounded by the staff of the Palace, at the forefront of Domenico De Gaetano, the editor of this site-specific project, and the engineers of the Dada as Stephen Morino, who engaged merely to follow the orders of the “master”. “On the first lap I came here with six tracks purely electronic, but I did not like as soon as I heard in the gallery. How you feel it too, when I clap my hands you create a very pronounced reverb, the sound here is very special. Spreading the music is generated randomly so listening differently depending on the position of the listener inside the gallery, and I wanted to base this dynamic installation “.

“The sensation experienced by the visitor is to be wrapped in two separate sound streams,” the curator anticipates De Gaetano. “As you approach the center of the room, the echo of the sounds behind him becomes a memory, a sort of cloud of steam memory, mingling with the delicate reverberations of the sounds that await him at the gate. Two movements that complete at the precise moment when encountered in the heart of the Galleria. are melodic sound tracks formed by nuclei just mentioned, almost whispered, with hints of the hottest real violins that have replaced the arches originally sampled. ”

The silence comes into play with light strokes of the vacuum, providing a smooth carpet on which the music float, as if suspended in the air. Everything, meanwhile, lets the light through. “Immersion in the light and space is the real experience that touches the visitor of the Gallery,” Eno adds, “nothing to do with an inner eye, I think Juvarra had planned to invite the world to enter, and then I felt that the music would exist both inside and outside space, like a cloud or atmosphere that permeated the building coming from outside. ”

Brian Eno guides us with the movement of the hand toward the sacred fire of the installation. At the center of the gallery is the soul sonic architecture on which he worked tirelessly for weeks, stealing energy to the many activities that he is engaged on the music front: “I have lots of open collaboration with several British musicians, for example, Karl Hide Underworld, I’m working on a new record for over three years, and that soon would become public, then there is a math-rock band London which I love and I like to work, called Three Trapped Tigers, while in London with a sound often Ebe Oke, a young singer-songwriter particularly inspired (it was Pete Doherty, long ago, the artist responsible for recommending this label Rough Trade, Geoff Travis, Ed), and together performeremo in September ( from 6 to 8) to the Punkt festival in Norway, the Kilden Performing Arts Centre in Kristiansand, where artistic director. why I have invited many musicians and remixers that I admire, such as Ben Frost, Reggie Watts, Mum and Marconi Union “.

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E.P

Brian Eno, after Bowie and U2, puts music in the Baroque Juvarra

Brian Eno is working with a sound track in the tunnel Juvarra Venaria, north of Turin. The installation will be completed by July 7 at the opening of HOP.E., two weeks of workshops and initiatives for young artists.

The Venaria Royal Savoy is one of the largest residences in Piedmont. Probably the largest in size, was designed and built in a few years (1658 – 1679) by architect Amedeo di Castellamonte. A commissionarla was the Duke Carlo Emanuele II, who wanted to make the base for hunting in the heather hills of Turin, the same name in Latin of the palace, Venatio Director, is derived from the art of hunting.

The set of buildings that make up the complex, enormous if you consider the extension (80,000 m²), including the park and the historic village of Venaria, constructed so as to form a sort of collar that directly recalls the Annunciation, symbol of the house of Savoy. The village can be joined many houses and buildings of workers and ordinary citizens who wanted to live near the palace, until it becomes Venaria a separate municipality in the province of Turin.

In 1972 he began the adventure of Brian Peter George St. John le Baptiste de la Salle Eno, which is now divided into over fifty albums as a solo artist or in collaboration with others. Some have marked the history of music, such as Another Green World, Before and After Science, Music For Airports, but as a producer that Eno has revolutionized the world of rock music, working with David Bowie, Devo, Talking Heads, U2. With them has become an intellectual million copies: just turned 64 years old, signing still interesting albums (the last, Drums Between the Bells, came out last year), but most part, takes a position, he theorizes. Brian Eno says, “I am still very interested in the idea of a music that is born alone, once a given set of conditions. The composition has a life of its own, so maybe for a while nothing happens then suddenly everything changes. ”

Now he calls “generative music”, but already in 1975 on the back of Discreet Music wrote of “systems that adjust individually and can create entire songs with little or no human intervention.” The same principle is found in the iPhone app: eTrope Bloom (“It is going to arrivarne another,” announces) produce ambient music is always different, but always equally persuasive, reacting to the touch of fingers on the screen. It’s the end of the ego? “I do not know, I establish the rules, but then I do not know the end result, sometimes surprises even me.” The artist of the future for Eno is also a programmer: “In my app the computer code is as important as the sounds.” But technology is not transparent and the medium affects the message, so the music that comes from a PC will not be the same that you can write with a guitar. Eno, a pioneer of the music machines, began with a reel to reel tape recorders and synthesizers, now uses a Mac

Opera per  lara pacis Mimmo Paladino Brian Eno

Opera per l’Ara pacis Mimmo Paladino Brian Eno

Brian Eno has already numerous collaborations with artists or art, remember the event designed for site-specific spaces of the Museum of Ara Pacis. In 2008 the exhibition / event “Brian Eno | Mimmo Paladino. Opera for the Ara Pacis, “was the occasion for two undisputed protagonists of contemporary culture, to find themselves working together after almost 10 years since their first joint project of the Round House in London in 1999.

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Brian Eno, dopo Bowie e gli U2 mette in musica il barocco di Juvarra

Brian Eno sta lavorando alla sonorizzazione della galleria juvarriana nella reggia di Venaria, a nord di Torino. L’installazione sarà terminata per il 7 luglio in occasione dell’apertura di HOP.E., due settimane di workshop e iniziative per giovani artisti.

La reggia di Venaria Reale è una delle maggiori residenze sabaude in Piemonte. Probabilmente la più grande per dimensioni, fu progettata e costruita in pochi anni (1658 – 1679) su progetto dell’architetto Amedeo di Castellamonte. A commissionarla fu il duca Carlo Emanuele II che intendeva farne la base per le battute di caccia nella brughiera collinare torinese, lo stesso nome in lingua latina della reggia, Venatio Regia, viene fatto derivare dall’arte venatoria.

L’insieme dei corpi di fabbrica che costituiscono il complesso, enorme se si considera l’estensione (80.000 m²), include il parco ed il borgo storico di Venaria, costruiti in modo da formare una sorta di collare che rievoca direttamente la Santissima Annunziata, simbolo della casa sabauda. Al borgo si unirono molte case e palazzi di lavoratori e normali cittadini che vollero abitare nei dintorni della Reggia, fino a far diventare Venaria Reale un comune autonomo della provincia di Torino.

Nel 1972 cominciò l’avventura di Brian Peter George St. John le Baptiste de la Salle Eno, che si articola finora in una cinquantina di album da solista o in collaborazione con altri. Alcuni hanno segnato la storia della musica, come Another Green World , Before and After Science , Music For Airports, ma è come produttore che Eno ha rivoluzionato il mondo del rock, lavorando con David Bowie, Devo, Talking Heads, U2. Con loro è diventato un intellettuale da milioni di copie: a 64 anni appena compiuti, firma ancora album interessanti (l’ultimo, Drums between the Bells , è uscito lo scorso anno), ma soprattutto partecipa, prende posizione, teorizza. Brian Eno dice: «Sono ancora molto interessato all’idea di una musica che nasca da sola, una volta date una serie di condizioni. La composizione ha una vita propria, in cui magari per un certo periodo non succede nulla poi all’improvviso tutto cambia».

Ora la chiama «musica generativa», ma già nel 1975 sul retro di Discreet Music scriveva di «sistemi che si regolano autonomamente e possono creare interi brani con intervento umano minimo o nullo». Lo stesso principio si ritrova nelle app per iPhone: Bloom eTrope («E sta per arrivarne un’altra», annuncia) producono musica ambient sempre diversa, ma sempre egualmente suadente, reagendo al tocco delle dita sullo schermo. È la fine dell’ego? «Non saprei, io stabilisco le regole, ma poi non conosco il risultato finale, a volte sorprende anche me». Così l’artista del futuro per Eno è anche un programmatore: «Nelle mie app il codice informatico conta quanto i suoni». Ma la tecnologia non è trasparente e il mezzo influenza il messaggio, così la musica che nasce da un pc non sarà la stessa che si può scrivere con una chitarra. Eno, pioniere delle macchine musicali, ha cominciato con registratori a bobine e sintetizzatori, oggi usa un Mac.

Opera per  lara pacis Mimmo Paladino Brian Eno

Opera per l’Ara pacis Mimmo Paladino Brian Eno

Brian Eno vanta già numerose collaborazioni con artisti o con l’arte, ricordiamo l’evento site specific pensato per gli spazi del Museo dell’Ara Pacis. Nel 2008 la mostra/evento “Brian Eno | Mimmo Paladino. Opera per l’Ara Pacis”  fu l’occasione, per due indiscussi protagonisti della cultura contemporanea, di ritrovarsi a lavorare insieme dopo quasi 10 anni dal loro primo progetto comune alla Round House di Londra nel 1999.

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