Topic: Alessandra Celletti
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| Webpage: http://www.thegoldenfly.com | ||||
| Location: Roma, Italy, | ||||
| Description: New album from Alessandra Celletti, the virtuoso Italian composer/pianist whose previous CDs include brilliant performances of works by Gurdjieff, Satie, Joplin and Glass. | ||||
| Biography: Alessandra Celletti - piano Music composed and performed by Alessandra Celletti "A precious album. Pure gold" - ROCKERILLA MAGAZINE Alessandra Celletti, pianist, came to prominence within the Italian musical scene in 1994 with her self-produced album “Les sons et les parfums” (“The sounds and the scents”), featuring pages by Debussy, Ravel and Satie.Since then, her musical and artistic path has brought her to work on a number of projects, some of which marked sudden departures from classical music. Closer to an expressive restraint than to virtuosity, Alessandra studied at the Santa Cecilia Conservatory in Rome and, after graduating, went on to specialize in French music between the XIX and the XX centuries. In 1997 her second publication, “Viaggio a Praga” (“Trip to Prague”), brought her to the capital of the Czech Republic to approach first-hand the piano music of Leos Janacek and its interpretation. Back in Italy, she started a collaboration with the Kha record label, for which she recorded monographies dedicated to the music of Gurdjieff/De Hartmann, Erik Satie, Scott Joplin and Philip Glass. It was, however, only in 2006 that Alessandra Celletti finally published an album with her own compositions: “Chi mi darà le ali” (“Who will give me wings”) saw her in the roles of author, interpreter and producer.She was noticed by Joachim Roedelius, one of the foremost contemporary music composers, who invited her to play at the Lunz Festival in Austria in August 2007. One year after her debut as author, Kha Records is proud to announce the publication, in November 2007, of “The Golden Fly”, sixteen inspired and intense compositions for piano. It is an original new flight on music’s own wings, free and nimble, that never tires of going higher to explore the most intimate colours of the soul and of the emotions. It is an album, on occasion, profoundly indebted to Alessandra Celletti’s favourite repertoire, with an affectionate homage to Erik Satie, to whom the track “Talking to Satie” is dedicated. | ||||
| Press Release: FOR IMMEDIATE RELEASE CONTACT: Kha Records: info@kha.it Alessandra Celletti’s music is published by KHA.IT srl For additional information on Alessandra Celletti, please visit the following websites: www.kha.it www.myspace.com/alessandracelletti | ||||
During his life, Fibonacci traveled throughout the Mediterranean region and studied mathematics with several Arab scholars. By the age of 32, he published a book called “Liber Abaci” (Book of Calculation), and introduced Europeans to the use of Arabic numerals (the system we use today). In his book, Fibonacci explained the solution to the question of how fast a hypothetical population of rabbits could breed. The solution encompassed a derivation of a series of numbers that have far reaching implications to explain physical realities found throughout the universe. Assuming that there was one mating pair to start, Fibonacci calculated that each generation of rabbits would increase by the sum of the two preceding numbers of rabbits. Fibonacci derived a series of numbers using this formula. Much of musical theory follows Fibonacci mathematics. Musical scales are based on 8 notes and an Octave is separated by 12+ 1 tones (8 and 13 are Fibonacci numbers). The basic structure of a chord uses the Fibonacci sequence 1, 3 and 5. Many great composers from Mozart to Beethoven to Bob Dillon have either consciously or subconsciously applied Fibonacci mathematics to their music. With Fibonacci math in hand, I set out to compose this series of recordings. I have tried to lace Fibonacci numbers and ratios in each composition. To hear the Fibonacci influence, look for phrases that are repeated in a Fibonacci sequence of numbers, melodies that follow tonal intervals separated by Fibonacci numbers and verses increasing in length by the Golden Ratio. As with my first album, Out of the Woodwork please try to listen to this album, at least once, in its entirety as the compositions are carefully ordered to take you on a journey of my musical and mathematical world. I hope you enjoy my music…and the math.---Lawrence Blatt 
Paul Potts (born 13 October 1970 in Bristol, England), from Port Talbot in South Wales, is a British singer who became the winner of the first series of ITV's Britain's Got Talent, singing operatic arias and impressing the judges in all of his performances. Potts had previously worked in unpaid opera productions from 1999 to 2003. However, a series of illnesses combined with a bicycle accident in 2003 brought an end to his amateur opera career. At the time of his 2007 victory on Britain's Got Talent, he had been working in The Carphone Warehouse, but following his win, he has been signed by the show's judge Simon Cowell to record an album. 
Another Day in Paradise is an offering of 11 instrumental compositions that celebrate the basic themes of a typical day in paradise: processions and celebration; morning, afternoon, and evening; the land, ocean, and sky; youth; spiritual/physical union; and dance. "Another Day In Paradise" is the second release from multi-instrumentalist Michael Stribling. This new CD is a soundtrack of sorts for a typical day in paradise, and literally picks up where "Out of the Darkness, Into the Light" left off. More electronic and ambient than acoustic or melodic, the music brings the listener an uplifting mood and a positive state of mind. Johnny Mathis' percussionist and a radio disc jockey for a number of years, Stribling combines those pop sensibilities with his advanced training in psychology and spiritual studies to present a unique musical point of view. Calling his label "Leelah," which means "divine play," Stribling's mission is "to help others in their journey toward wholeness through the gift of music, by creating works that inspire and uplift the human spirit." Stribling uses a variety of ethnic musical stylings to give his music a universal theme that can bridge a multitude of cultures. Unlike some of the other spirituality-themed recordings out there, Stribling does not present a world of all sweetness and light. His music has a strong positive feel to it, but does not ignore some of the darker moments or influences that come into everyone's lives. 
ROBIN SPIELBERG writes us...She has re-releaed her Holiday album with a few changes: "In the Heart of Winter" contains familiar holiday songs from around the globe as well as 4 Robin Spielberg originals that celebrate the Winter season. Instrumentation: piano, cello, flute, percussion. Please note: this album is now being manufactured by playMountain Music with updated sequence, cover art and mastering. 
"Ann Sweeten possesses a remarkable talent. A musician whose extensive classical training is immediately apparent, she is also someone who writes from a great emotional depth. As her producer it is a joy to hear someone who exploits the entire potential of the piano, finding both dynamics and beauty in all 88 keys. Her pieces have a broad stylistic range and yet create a cohesive program of music very distinctively hers. This is a brilliant recording from start to finish." William Ackerman 
Kitaro picks up the path of his sacred journey through Shikoku, an island that has 88 temples, each with its own distinct temple bells. The Sacred Journey of Ku-Kai, Volume 3, is the latest in a projected multi-disc series in which the Japanese keyboardist has been recording those bells and working them into the matrix of his music. Taking its name from Kukai, a Japanese monk and founder of the Shingon school of Buddhism in the 9th century, the series follows a path that gets more languid with each album. The synthesist has jettisoned most of the sappy strings that marred his previous journeys, opting for floating, ambient spaces centered around organic sounds. "Crystal Winds" might be the most carefully formed, albeit rhythm-free and melodically amorphous track Kitaro has composed in years. It builds from a floating array of Native American flute, zithers, Balinese gamelan, temple bells, and harmonic singing merging into filter-swept synthesizer before a brief santoor melody is teased out of it. It's not long before Kitaro tosses in electric-guitar leads on the grandiose sweep of "After the Rain," replete with his patented whooping Korg lead lines. If he'd left out the sampled choirs and strings, it might've risen above generic easy-listening new age, which is still preferable to "Winds Blow over the Hill," a thinly veiled lift from his own Silk Road that makes it sound like a score for a sanatorium. But Kitaro redeems himself with the last two tracks, a hypnotic jam with some uncharacteristically raving guitar over a sequencer ostinato called "Voice in Blue," and "Circle Dance," a ritualistic piece for bells, flute, and what sounds like metal mixing bowls. I kept looking into the kitchen to see if my wife was making something, but I liked the way it added three-dimensionality to the piece. With The Sacred Journey of Ku-Kai, Volume 3, Kitaro gives us hope that the trek might be worth continuing. --John Diliberto 
There's nothing more fulfilling than closing a musically diverse year with a complete work of art. Carolyn Southworth's "At the End of the Day" has the fragile beauty and soulful depth of a painting; every note is a graceful stroke of the brush. Labels such as "New Age" or "jazz" cannot aptly describe the haunting, evocative qualities of these gorgeous instrumentals. Southworth's stunningly rich piano playing already dazzles from the beginning, the poignant melodies that transform the title track into a transcendent, magical piece. What makes Southworth's piano playing so engrossing is the emotional pull they create; they simply draw you in unlike many of her peers who keep their distance, letting us admire the sounds they create but not feel them. --Adam Harrington, Whisperin & Hollerin (UK), December 2006 Southworth's piano is smooth, soothing and fresh from the opening title track to the reverent "Nocturne." Each work is melodic and catchy but also deep with emotion and musicality. Southworth has created a CD that will appeal to fans of healing new-age music. But it also set the bar high for fan's expectations. It can stand alongside such new-age artists as David Lanz, Suzanne Ciani and Tingstad & Rumbel. --Scott Iwasaki, Deseret Morning News, Music Editor, October 27, 2006