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 “.

ItaliaWorldWide

E.P

Castel del Monte – UNESCO World Heritage Centre, Patrimonio Mundial, Центр всемирного наследия ЮНЕСКО, Patrimonio UNESCO

L’emplacement de ce château, la rigueur mathématique et astronomique de son plan, la perfection de sa forme manifestent l’ambition symbolique qui animait l’empereur Frédéric II lorsqu’il l’édifia près de Bari, en Italie du Sud, au XIIIe siècle. Exemple unique dans l’architecture militaire médiévale, Castel del Monte est la fusion parfaite de l’Antiquité classique, de l’Orient musulman et du gothique cistercien d’Europe du Nord.

Когда император Фридрих II в XIII в. построил этот замок неподалеку от Бари, он наполнил его символическим значением. Это отразилось в выборе местоположения замка, математических и астрономических расчетах его планировки и абсолютно правильной форме. Кастель-дель-Монте представляет собой уникальный образец средневековой военной архитектуры, в котором удачно сочетаются элементы классической античности, исламского Востока и североевропейской цистерцианской готики.

Edificado en siglo XIII por orden del emperador Federico II, al sur de la península italiana, cerca de Bari, este castillo es un ejemplar de la arquitectura militar medieval único en su género. Su emplazamiento, la perfección de sus formas y la precisión matemática y astronómica de su trazado, son exponentes del deseo que movió a este soberano a hacer de él un símbolo de sus ambiciosos designios. Castel del Monte es una muestra perfecta de la fusión de las formas arquitectónicas de la Antigüedad grecorromana, el Oriente musulmán y el gótico cisterciense del norte de Europa.

Quando l’imperatore Federico II fece costruire questo castello in provincia di Bari nel 13 ° secolo, lo intrise di significato simbolico, la posizione, la precisione matematica e astronomica del layout e la forma perfettamente regolare. Un pezzo unico di architettura militare medievale, Castel del Monte è un mix ben riuscito di elementi dell’antichità classica, islamica, Oriente e del Nord Europa gotico cistercense.

Source: UNESCO/CLT/WHC

Castel del Monte – UNESCO World Heritage Centre

When the Emperor Frederick II built this castle near Bari in the 13th century, he imbued it with symbolic significance, as reflected in the location, the mathematical and astronomical precision of the layout and the perfectly regular shape. A unique piece of medieval military architecture, Castel del Monte is a successful blend of elements from classical antiquity, the Islamic Orient and north European Cistercian Gothic.

The Committee decided to inscribe the nominated property on the basis of cultural criteria (i), (ii) and (iii) considering that the site is of outstanding universal value in its formal perfection and its harmonious blending of cultural elements from northern Europe, the Muslim world, and classical antiquity. Castel del Monte is a unique masterpiece of medieval military architecture, reflecting the humanism of its founder, Frederick II of Hohenstaufen.

In its formal perfection and its harmonious blending of cultural elements from northern Europe, the Muslim world, and classical antiquity, Castel del Monte is a unique masterpiece of medieval military architecture, reflecting the humanism of its founder, Frederick II of Hohenstaufen.
Frederick succeeded his father, Emperor Henry VI, in 1197 at the age of three. During his reign, which lasted until 1250, he brought order to his unruly kingdom of Sicily, which included much of southern Italy and introduced a period of intense cultural activity known as the ‘Southern Renaissance’. He was a man of great culture, at home in several languages, with high attainments in mathematics, astronomy and natural sciences; he brought scholars and artists from the Arab lands, Greece, and elsewhere to his court, had the works of Aristotle, Averroës, Ptolemy and Galen translated into Latin, and founded the University of Naples. His many talents earned him the title of Stupor Mundi (Wonder of the World).

He was also an able ruler, who bought social and economic stability to his people. However, his policy in Italy, unlike that in Germany, where he encouraged the feudal system, was that of an absolute monarch. For this reason, and also for defensive purposes, he built a number of strong castles in his lands of Apulia, Calabria and Sicily, the largest and most influential of which was Castel del Monte. It was finished in 1240 and became the permanent seat of his court. With his death in 1250 the Hohenstaufen hold over the kingdom was weakened, and the Angevin dynasty ruled until the mid-15th century. Castel del Monte, no longer the seat of power, like most castles from this period, served as a stronghold and then a barracks until the 19th century, and slowly losing its resplendent decoration through pillage, vandalism and neglect.

Source: UNESCO/CLT/WHC

Резиденции королевского Савойского дома – Residencias de la Casa Real de Saboya – Résidences des Savoie

Резиденции королевского Савойского дома (Турин и окрестности) 

Когда герцог Савойский Эммануэль-Филибер в 1562 г. переместил столицу в Турин, он заложил целую серию строительных проектов (продолженных его преемниками), чтобы продемонстрировать мощь правящего дома. Этот выдающийся комплекс зданий, созданных и украшенных ведущими архитекторами и художниками того времени, выходит за пределы города и продолжается в окружающей сельской местности. Он включает не только Королевский дворец в «Правительственном районе» Турина, но и множество загородных резиденций и охотничьих домиков.

Série sobre Turim – Series about Turin – Torino – 16-01-2009 - IMG_20090116_9999_244

Residencias de la Casa Real de Saboya

Cuando el duque Emmanuel Filiberto de Saboya trasladó su capital a Turín en 1562, quiso mostrar el poderío de su familia acometiendo la ejecución de una vasta serie de proyectos de construcción, que serían proseguidos por sus sucesores. Este conjunto de edificios de alta calidad, diseñados y decorados por los mejores artistas y arquitectos de la época, tiene su centro en el palacio real situado en la “zona de gobierno” de Turín y se extiende por la campiña circundante, abarcando numerosas casas de campo y cotos de caza.

Résidences des Savoie

Lorsque le duc de Savoie, Emmanuel-Philibert, choisit de déplacer la capitale du duché à Turin en 1562, il entreprit un vaste programme de construction, symbole du pouvoir de la maison royale des Savoie, qui allait être mené à bien par ses successeurs. Cet ensemble de bâtiments de haute qualité, conçu et décoré par les plus grands architectes et artistes du temps, rayonne sur la campagne environnante, à partir du palais royal situé dans la « zone de commandement » de Turin, pour atteindre de nombreuses résidences de campagne et des pavillons de chasse.

Source: Advisory Body Evaluation

Residences of the Royal House of Savoy – UNESCO World Heritage Centre

When the Duke of Savoy, Emmanuel-Philibert (1553-6O), decided to move the seat of his court from Chambéry to Turin in 1562, he assigned an unexpected and decisive role to the latter. The new capital of the Duchy was still a small, fortified medieval town that had remained on the fringes of the main cultural developments of the Renaissance. As a result of the impetus of Emmanuel-Philibert, his successors developed a vast building programme throughout the 17th and 18th centuries, giving the town and its region a Baroque style, the pivot of which is the residences. These pleasure and hunting residences, built in the countryside along the PO, on the hills, and further away in vast wooded areas, also serve as reference points in a system of large estates important in both economic and strategic terms. This programme was the symbol of the absolute power of the Savoy rulers, who built a state and a European capital. They acquired the throne of the Kingdom of Sicily with Victor-Amadeus Il(l713) and that of the Kingdom of Italy with Victor- Emmanuel II (1861), which they kept until the foundation of the Republic in 1946.

Série sobre Turim – Series about Turin – Torino – 16-01-2009 - IMG_20090116_9999_244

The construction of these buildings involves a town planning system that provides links between one palace and another and between the palaces and the villas, at the same time giving an architectural unity and solemnity to the areas that house the seats of power. Thus the group of buildings in the “Command Area,” which are connected with each other starting from the ducal residence and where central power was exercised in its different political, administrative, and cultural forms, together with the palaces of the House of Savoy (Palazzo Madama, Palazzo di Carignano), form the central node, which has a direct relationship with the outlying residences by means of a radial plan, the form of which can be traced from its centre, Turin. They are rapidly accessible from the capital through a network of straight tree-lined roads, which ensure the cohesive and the functional aspects of the ensemble.

This system is underpinned by large-scale planning projects. Although the organization of the defences of Turin was Emmanuel-Philibert’s major preoccupation, he succeeded in establishing his residence in the former bishop’s palace. Between the end of the 16th century and the 18th century, his successors carried out three large expansion projects centred on the Piazza Castello. The first urban and architectural renovation schemes, launched by Charles-Emmanuel I to the plans of the architect Ascanio Vitozzi (late 16th/early 17th century), were designed to create a “Command Area” to the north-east of the city that would be more in keeping with princely rank and be more practical in defensive terms. The former ducal palace, which was slightly away from the centre, was rebuilt on a new orientation so as to be in direct contact with the Piazza Castello. It was also linked with the southern part of the city by opening a new road (1612-15, the present Via Roma) in the direction of the Mirafiori ducal residence in the country (now demolished). This project was a major innovation, since it established bipolarity in urban and territorial terms.

In 1673, Charles-Emmanuel II (1638-75) commissioned Amedeo di CastelIamonte to extend the town eastwards in the direction of the PO. The new main axis, the Via PO, linked the Piazza Castello with the bridge crossing the river in the direction of the hills where the Villa della Regina was built. The opportunity was also taken to extend the Piazza Castello eastwards, and the State Secretariats and the Royal Theatre were later built along its sides.

Victor-Amadeus II (1675-1730) commissioned Michelangelo Garove, Antonio Bertola, and (from 1716) Filippo Juvarra to carry out the third extension. This was in the direction of the western access to the city, running from the Porta Susina to the Castello di Rivoli and the Palazzina di Stupinigi.

Charles-Emmanuel III (1730-73) inherited several projects from his father. He planned the Palazzo Reale, the State Secretariats, and the theatre on the Piazza Castello, and organized a vast rebuilding and extension programme for the residences, involving Filippo Juvarra, followed by Benedetto Alfieri when Juvarra left Turin in 1735.

The relationships and dynastic links that the House of Savoy established with the royal courts in Paris, Lisbon, Madrid, Munich, and Vienna as well as the towns of Italy created a cosmopolitan artistic and cultural milieu at the court of Turin. Emmanuel-Philibert laid the foundations of a court tradition that had not previously existed in Turin. As the two superb volumes of the Theatrum Sabaudiae, published in 1682, demonstrate, the Dukes of Savoy were tireless builders. With ceaseless perseverance, they enriched their family heritage and commissioned internationally famous architects, artists, and gardeners such Ascanio Vitoti, Carlo and Amedeo di Castellamonte, Guarino Guarini, Filippo Juvarra, Michelangelo Garove, Benedetto Altieri, Daniel Seiter, Francesco Solimena, Sebastiano Ricci, Charles Andre Vanloo, Claudio Francesco Beaumont, Francesco Ladatte, Michel Benard, and many others.

Source: Advisory Body Evaluation

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