![\"Pietro](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen-102_pietro_riparbelli.jpg\" "\\"Pietro")
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Three days of silence –\u00a0The mountain of the Stigmata | Pietro Riparbelli<\/a><\/strong> Reviews<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Excerpts:<\/p>\n 1<\/p>\n MP3<\/a><\/p>\n 2<\/p>\n MP3<\/a><\/p>\n 3<\/p>\n MP3<\/a><\/p>\n <\/p>\n 6 Tracks (47\u203213\u2033) <\/p>\n \u201cThree days of silence\u201d is conceived as complete phenomenological experience of listening. I have been three days within the Sanctuary of La Verna on the top of a mountain called \u201cthe mountain of the Stigmata\u201d in Tuscany. I\u2019ve lived together with the monks recording and attending the ceremonies and the sounds of the place trying to penetrate in a dimension of pure contemplation.<\/p>\n <\/p>\n La Verna, in Latin Alvernia and geographically known as Monte Penna, is a locality on Mount Penna, an isolated mountain of 1,283 m situated in the centre of the Tuscan Apennines. The place is known especially for its association with Saint Francis of Assisi (he is said to have received the stigmata here) and for the Sanctuary of La Verna, which grew up in his honour.<\/p>\n <\/p>\n Count Orlando of Chiusi gave La Verna to Francis on May 8, 1213 as a retreat specially favourable for contemplation, and in 1218 built him the chapel Santa Maria degli Angeli. In August, 1224, frustrated by the changes in the Order of Friars Minor, Francis withdrew to La Verna to keep a forty days fast in preparation for Michaelmas and while praying on the mountain- side he received (on or about 17 September) the stigmata. <\/p>\n In 1260 a church was consecrated there in presence of St. Bonaventure and several bishops. A few years later the Chapel of the Stigmata was erected, paid for by Count Simone of Battifole, near the spot where the miracle took place. The Chiesa Maggiore was begun in 1348, although not finished until 1459.<\/p>\n <\/p>\n Extra content<\/em>: 03_05_2011.zip<\/a> \/ 70 MB<\/p>\n 04_05_2011.zip<\/a> \/ 75 MB<\/p>\n 05_05_2011.zip<\/a> \/ 13 MB<\/p>\n <\/p>\n Soundscape Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Ed Pinsent | The Sound Projector<\/a><\/strong> link<\/a><\/p>\n <\/p>\n <\/p>\n Martin P | Musique Machine<\/a><\/strong> <\/p>\n These original recordings are often beautiful, which does lead to the obvious question: why not leave them to stand as they are? But Riparbelli has used them on \u201cThree Days Of Silence\u201d to construct a sense of \u201cplace\u201d, and the sense of listening to that place; so its really along these lines that his project has to be viewed. The album\u2019s six tracks are neatly divided into \u201cFirst Day\u201d, \u201cSecond Day\u201d and \u201cThird Day\u201d; three long pieces which are each followed by a shorter construction. Whilst some level of processing is sometimes heard in the longer tracks, these shorter pieces are more overt examples of electroacoustic practice. (Though, if I was to be told that actually the \u201cDay\u201d tracks were in fact only EQ-ed, it wouldn\u2019t surprise me\u2026) The first of these \u201cinterludes\u201d, \u201cStillness\u201d is built on a swirling drone, like filtered wind; over this there are electronic whizzs and squeals, which reverberate and spiral. \u201cDuration\u201d starts with the sound of a squeaky door, accompanied by glitching noises and tones – its a nicely agitated section, which somewhat stands in contrast to the remainder of the album. This agitation is pared back to reveal waves of ambient washes, which are battered by thudding percussive clicks before slowly fading out. The third \u201cinterlude\u201d, and last track on the album, is \u201cAletheia\u201d – a word meaning \u201cunconcealedness\u201d; this pits a grainy, open drone against echoing choir-song and the scuffing and banging sounds of someone performing a physical task.<\/p>\n <\/p>\n The longer \u201cDay\u201d tracks range from eleven minutes to fifteen minutes long; and are constructed out of very recognisable sounds for the whole. Thus \u201cFirst Day\u201d begins with quiet footsteps, a door closing, bird song, the rustle of clothing and the sound of bees; before a thick low drone rises up. In the crassest terms, this is how all three \u201cDay\u201d tracks are essentially constructed: layered field recordings, accompanied by drones – presumably made by EQ-ing some of the other recordings. Here, the reverbs of the Sanctuary, as well as obvious sources like recordings of the organ, are tailor made for their construction. These drones dominate the pieces, often commanding incredible bass tones; indeed on \u201cFirst Day\u201d and \u201cThird Day\u201d, tones and frequencies are pushed to the point of distortion – with the latter track even displaying HNW-esque crackle. Elsewhere, the drones are more gentle; though often discordant (the end of \u201cSecond Day\u201d, for example) or even tremoloing (the second half of \u201cThird Day\u201d, which builds to a noisy crescendo). The most noticeable element, beyond the drones and the recognition of the sounds recorded by Riparbelli, is the exploration of reverb to be heard. A closing door, a cough, the crackling of a fire – these are all affected sonically by the environment they are heard in. For those of us who spend our times tweaking reverb effects, a visit to a church (for example) is an ear-opening experience – and this is documented supremely by Riparbelli.<\/p>\n <\/p>\n \u201cThree Days Of Silence\u201d is a good album, but I must admit that the predominance of drones left me a little cold. Whilst they perfectly represent the oppressive\/beautiful (delete as applicable) stillness of a monastery and the sense of continuity and stasis, I would have liked to have heard, on a less conceptual level, the other sounds interacting with each other. Interestingly, although the drones suggest a notion of \u201cpurity\u201d and concentration, Riparbelli\u2019s use of his source material is sometimes anything but – there are a few clicks, bangs and rustles to be heard, which sound like unintentional \u201cnoises\u201d that have escaped editing. Though this is much less a concern, than the fact that the slow fade-out of \u201cduration\u201d is crudely cut off; as well as the appearance of clumsy mixing at the very close of \u201cThird Day\u201d. (Since I\u2019m being rude, I\u2019ll also mention that the bulk of the inlay spiel on La Verna seems to have been lifted wholesale from Wikipedia.) Having said all that, its a release of great charm and invocation. Riparbelli has avoided, for the most part, obvious \u201cgothic\u201d or mystical tones in presenting his material; though parts of \u201cSecond Day\u201d – with a call and response between ambient organ tones and echoing choir voices – steer dangerously close to these, whilst also providing the most overtly \u201cmusical\u201d sections of \u201cThree Days Of Silence\u201d. He has certainly used drones and natural reverb to convincingly evoke time and place, but whether he has also evoked \u201cAletheia\u201d is up to the individual listener\u2026<\/p>\n link<\/a><\/p>\n <\/p>\n Leandro Pisano | Blow Up<\/a><\/strong><\/p>\n Il lavoro condotto da qualche anno dal filosofo e sound artist Pietro Riparbelli, rivela una serie di elementi particolarmente significativi nell’indagine dei fenomeni della percezione spaziale e della dicotomia tra visibile ed invisibile all’interno del paesaggio sonoro. <\/p>\n Emiliano Grigis | Sodapop<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Tina Manske | CULTurMAG<\/a><\/strong><\/p>\n Klosterleben, weltlich erfahrbar link<\/a><\/p>\n <\/p>\n H\u00e9ctor Cabrero | Le son du grisli<\/a><\/strong> <\/p>\n Le titre est trompeur. On n\u2019entend pas de silence ici mais l\u2019air qui tourne autour des lourdes pierres, des pas et des portes qui se referment sur les cellules, un ch\u0153ur ou un orgue qui chante dans l\u2019ombre\u2026 Avec tout cela, Riparbelli a compos\u00e9 une ode \u00e0 la retraite en tressant des drones et en taillant dans les sons. C’est noir et c’est profond. C\u2019est pourquoi ce n\u2019est pas La simplicit\u00e9 du c\u0153ur que l\u2019on conseillera de lire en \u00e9coutant Three Days of Silence, mais Une saison en Enfer. Rimbaud n\u2019y a-t-il pas \u00e9crit : \u00ab Si j\u2019ai du go\u00fbt, ce n\u2019est gu\u00e8re que pour la terre et les pierres \u00bb ?<\/p>\n link<\/a><\/p>\n <\/p>\n Richard Allen | a closer listen<\/a><\/strong> <\/p>\n The \u201cpure\u201d recordings, unadorned and accompanied by photographs and text, can be accessed and downloaded for free from Gruenrekorder\u2019s release page.\u00a0 But Three Days of Silence is more importantly a soundscape: a project in which the sources are mixed and recombined in an effort to access greater truths.\u00a0 At times, the sounds of nature decorate the exterior of the sound field.\u00a0 The chanting of monks fades in and out like the passing of the hours.\u00a0 Organ tones bloom and recede.\u00a0 These collages yearn for alchemy like supplicant hands reaching toward the heavens; and whether by intention or divine intervention, they succeed.\u00a0 When listening to the sources by themselves, one thinks, \u201coh, that\u2019s a nice sound\u201d or \u201cthis track is better than the one before it\u201d, keenly aware of Riparbelli\u2019s presence behind the equipment.\u00a0 But when one plays the album, one rests in the arms of mystery.\u00a0 While the divine presence has made itself known in part, it continues to rest beyond human comprehension, and Three Days of Silence is the sonic equivalent of a dark glass or dim mirror.\u00a0 To listen is to seek hidden truths, but to receive only impressions.\u00a0 This falling-short is the center of the contemplative life, which seeks comprehension, but offers praise for mere glimpses.\u00a0 \u201dIf I could but touch the edge of his cloak\u201d, a woman said once about Jesus; a monk allowed to draw that close would consider his life a blessing.<\/p>\n <\/p>\n Riparbelli creates the conditions in which blessings may occur by adding musical accompaniment to his field recordings: mostly light drones that connect the sound sources, unifying their nature like a neutral wall color unifying a series of paintings.\u00a0 The fact that one is invited to listen to the album in two different ways is evidence of the reverence the artist shows to his material and his hosts.\u00a0 In the same way as a translator attempts to preserve the intention of the material while altering its form, Riparbelli takes the ancient and makes it seem contemporary.\u00a0 One can only hope that the monks of La Verna can appreciate the new context.\u00a0 For those below the mountain, the effect is divine.<\/p>\n link<\/a><\/p>\n <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong> <\/p>\n Pietro Ripabelli recorded his phenomenological experiences at the Sanctuary of La Verna, a remote church in Tuscany built on the site where St Francis of Assisi was reputed to have received the stigmata. As you would imagine Ripabelli\u2019s field recordings are exquisitely austere and relay the contemplative nature of the building and its surroundings with a deft touch. But as well as the vespers and the church organ we get more natural sounds such as bird song, bees, the scrubbing of floors [at least thats what it sounded like to me], heavy doors being opened and closed, the turning of ancient keys, a steel bucket being dropped to the floor, hand bells being rung, the recordings are so melancholic in parts that it took me a while to get through it in one go without nodding off, a problem [of the good kind] I\u2019ve had with previous Gruenrekorder releases.<\/p>\n <\/p>\n Ripabelli divides the work up into three days with each day having an interlude; \u2018Stillness\u2019, Duration\u2019 and \u2018Aletheia\u2019 [the spirit of truth]. The main triptych range from pure field recordings to compositions made from sound sources and I suspect a mixture of the two [the sleevenotes describe the third day as a \u2018short diary of the experience\u2019].\u00a0 Whatever Ripabelli has done with these sound sources the results are pretty stunning but it was only after I\u2019d downloaded the original sound sources [via Gruenrekorder] that I got a better understanding of what the final work encapsulates. I was mistaking those throbbing drones for Pirabelli\u2019s work when these are in fact of the Basilica itself – on first listens a major stumbling block when I was of the mind that I would have much preferred these recordings to be have been left bare, me being in the less is more camp. But after much contemplation of my own I found myself warming to this release. The interludes are finely crafted short pieces with \u2018Aletheia\u2019 sounding like a lo-fi TNB gig played in a wind tunnel, all scraping floors, shuffling and desolation. \u2018Duration\u2019 is a small drone, squeaky doors met with low end farts, flutters and glitches found only at electro-acoustic gigs. \u2018Stillness\u2019 is sonar bleeps, sweeps and arctic bleakness. The main parts of the composition provide even further fulfillment: \u2018First Day\u2019 where the friar\u2019s vespers are accompanied by that stunning low Basilica hertz hum as it frazzles along besides an increasingly powerful organ run. \u2018Second Day\u2019 begins with a drone this time accompanied with dripping water, birds, bells, the drone fades into the background leaving ghostly vespers and eerie floating organ keys. \u2018Third Day\u2019 sounds like the most processed of the three and is perhaps the weakest with its pulsing and rapidly vibrating electronic drone masking much of what goes on beneath it.<\/p>\n <\/p>\n It goes without saying that you don\u2019t have to be religious to enjoy music of a religious bent, not that is in any way a religious release. The Estonian composer Arvo P\u00e4rt is probably the only composer alive whose sacred music is enough to move me emotionally whilst Richard Dawkins, now the most famous atheist in England, chose Bach\u2019s \u2018St Matthew\u2019s Passion\u2019 as one of his choice cuts on Desert Island Discs. I myself have sat in Barcelona Cathedral whilst Mass has been performed and enjoyed the purity of the ceremony whilst more recently I found myself listening to an organist run through his repertoire as I sat outside his North Yorkshire church making the most of the weak spring sunshine. Ripabelli\u2019s compositions might not be potent enough to get me join forces with the Franciscan\u2019s of La Verna but whilst listening to ‚Three Days of Silence‘ I felt that I had at least, been with them in spirit.<\/p>\n link<\/a><\/p>\n <\/p>\n JULIAN (Lord Yatesbury) | Head Heritage<\/a><\/strong> link<\/a><\/p>\n <\/p>\n RaF | kulturterrorismus<\/a><\/strong> <\/p>\n \u201cThree Days Of Silence\u201d (CD, 500 Exemplare) publizierte Pietro Riparbelli \u00fcber den Deutschen Verlag Gruenrekorder, der vornehmlich Ver\u00f6ffentlichungen mit Schwerpunkt Feldaufnahmen herausbringt, wo aber seltsamerweise die portugiesische \u00dcbermacht in diesem Metier nicht zum Tragen kommt. PS: Wer den Ausgangsaufzeichnungen f\u00fcr \u201cThree Days Of Silence\u201d von Pietro Riparbelli lauschen m\u00f6chte, kann diese kostenlos \u00fcber Gruenrekorder herunterladen!<\/p>\n <\/p>\n Unsere Welt dreht sich jeden Tag ein bisschen schneller, weshalb immer mehr Menschen nach Ruhe\/ Entspannung suchen, die sie zum Teil im Gebet finden, vielleicht auch Pietro Riparbelli, der oftmals Tonspuren, aufgenommen in Gottesh\u00e4usern (Wo NIEMAND andauernd \u201chinrennt\u201d (und mit lebt), wenn er keinen Bezug zu diesem \u201cVerein\u201d h\u00e4tte, oder?) verwendet, deren Ausstrahlung innerhalb seiner Tondokumente, nicht nur auf \u201cThree Days Of Silence\u201c, in tiefe Trance fallen lassen, wodurch sich beim Konsum das Gef\u00fchl von Freiheit, innerem Frieden & eben Entspannung einstellt \u2013 Wahnsinn!<\/p>\n <\/p>\n S\u00e4mtliche in \u201cThree Days Of Silence\u201d integrierten Ton- bzw. Sprachsamples versetzen nicht in die Kirche, auch Vogelgezwitscher, Regen\/ Wasser, Gespr\u00e4che, Bewegungsger\u00e4usche usw. f\u00fcgen sich nahtlos in den emotional ber\u00fchrenden Soundtrack ein, den der Ausnahmeprotagonist auf flie\u00dfendem Ambient aufbaute, der Bedrohlichkeit und Himmlischkeit gleicherma\u00dfen offeriert, das die \u201ckurze\u201d Spielzeit von knapp \u00fcber 50 Minuten verschmerzen l\u00e4sst. Insgesamt ein mitnehmender Kopfkinostreifen, welcher aufgrund seiner Variabilit\u00e4t und den daraus resultierenden Spannungskurven vollends \u00fcberzeugt bzw. fasziniert. Individuen, die sich nach einem anstrengenden Tag nach anspruchsvoller Seelenmassage sehnen, m\u00fcssen \u201cThree Days Of Silence\u201d von Pietro Riparbelli h\u00f6ren und aufsaugen, wonach die Welt in einem anderen Licht erstrahlt!<\/p>\n <\/p>\n Fazit: link<\/a><\/p>\n <\/p>\n Guillermo Escudero | Loop<\/a><\/strong> link<\/a><\/p>\n <\/p>\n maeror3 |\u00a0 livejournal<\/a><\/strong> <\/p>\n \u0418\u0442\u0430\u043b\u044c\u044f\u043d\u0441\u043a\u0438\u0439 \u0437\u0432\u0443\u043a\u043e\u0432\u043e\u0439 \u0430\u0440\u0442\u0438\u0441\u0442 \u041f\u044c\u0435\u0442\u0440\u043e \u0420\u0438\u043f\u0430\u0440\u0431\u0435\u043b\u043b\u0438 (\u0438\u0437\u0432\u0435\u0441\u0442\u0435\u043d \u043d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u043c\u0438 \u0441\u043e\u043b\u044c\u043d\u044b\u043c\u0438 \u0440\u0430\u0431\u043e\u0442\u0430\u043c\u0438, \u0432 \u0442\u043e\u043c \u0447\u0438\u0441\u043b\u0435 \u0433\u0440\u0430\u043d\u0434\u0438\u043e\u0437\u043d\u043e\u0439 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\u043f\u043e\u043c\u0435\u0449\u0435\u043d\u0438\u0439, \u043f\u0440\u043e\u043f\u0438\u0442\u0430\u043d\u043d\u044b\u0445 \u044d\u043d\u0435\u0440\u0433\u0438\u0435\u0439 \u043c\u043e\u043b\u0438\u0442\u0432 \u0438 \u043e\u0436\u0438\u0434\u0430\u043d\u0438\u044f\u043c\u0438 \u043f\u0440\u043e\u0437\u0440\u0435\u043d\u0438\u044f, \u0438\u043d\u043e\u0433\u0434\u0430 \u0432\u043f\u043b\u043e\u0442\u043d\u0443\u044e \u043f\u0440\u0438\u0431\u043b\u0438\u0436\u0430\u044e\u0442 \u0441\u043b\u0443\u0448\u0430\u0442\u0435\u043b\u044f \u043a \u043a\u0430\u0442\u0430\u0440\u0441\u0438\u0441\u0443, \u0434\u0435\u043b\u0430\u044f \u0432\u043e\u0441\u043f\u0440\u0438\u0438\u043c\u0447\u0438\u0432\u044b\u043c\u0438 \u043a \u0441\u0430\u043a\u0440\u0430\u043b\u044c\u043d\u044b\u043c \u043f\u0435\u0440\u0435\u0436\u0438\u0432\u0430\u043d\u0438\u044f\u043c \u0434\u0430\u0436\u0435 \u043d\u0435 \u0441\u043e\u0432\u0441\u0435\u043c \u0432\u0435\u0440\u0443\u044e\u0449\u0438\u0445 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\u0441\u043a\u0440\u044b\u0432\u0430\u0435\u0442\u0441\u044f \u043c\u043e\u0449\u043d\u044b\u0439 \u043f\u043b\u0430\u0441\u0442 \u043f\u043e\u0442\u0443\u0441\u0442\u043e\u0440\u043e\u043d\u043d\u0435\u0433\u043e, \u0438\u0440\u0440\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0431\u044b\u0442\u0438\u044f, \u0434\u0430\u044e\u0449\u0438\u0439 \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u044c \u043f\u043e\u0447\u0443\u0432\u0441\u0442\u0432\u043e\u0432\u0430\u0442\u044c \u043f\u0440\u0438\u0441\u0443\u0442\u0441\u0442\u0432\u0438\u0435 \u0432\u044b\u0441\u0448\u0438\u0445 \u0441\u0438\u043b \u0432 \u043a\u0430\u0436\u0434\u043e\u043c \u043e\u0442\u0433\u043e\u043b\u043e\u0441\u043a\u0435 \u044d\u0445\u0430, \u0432 \u043a\u0430\u0436\u0434\u043e\u043c \u0434\u0432\u0438\u0436\u0435\u043d\u0438\u0438 \u043b\u044e\u0434\u0435\u0439 \u0438 \u043f\u0440\u0435\u0434\u043c\u0435\u0442\u043e\u0432 \u0438 \u0432 \u043a\u0430\u0436\u0434\u043e\u0439 \u043a\u0430\u043f\u043b\u0435 \u0434\u043e\u0436\u0434\u044f.<\/p>\n link<\/a><\/p>\n <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Ron Schepper | textura<\/a><\/strong><\/p>\n Issued as part of Gruenrekorder’s Soundscape Series, Pietro Riparbelli’s Three Days of Silence – The Mountain of the Stigmata revisits the approach used on the 4 Churches recording the Livorno, Tuscany-based sound artist released in 2011 as part of Touch’s Spire series. In both cases, Riparbelli attempts to capture the reverberant space within church and cathedral settings by coupling the expected sounds of organ playing and choir singing with the less typically documented sounds that arise naturally within the spaces themselves\u2014the mundane and the transcendent rubbing shoulders, so to speak. Though both recordings center on the \u201cphenomenological experience of listening,\u201d an approach that finds the sound artist absorbing the history of a site and its spatial, architectural, and aesthetic characteristics in order to reconfigure it as a sonic landscape, the new one differs from the earlier in documenting three days Riparbelli spent in May 2011 at the Sanctuary of La Verna on the top of Mount Penna situated in the centre of the Tuscan Apennines. During the stay, he lived with the monks, attended their ceremonies, and explored the space in an attempt to enter into a state of pure contemplation.<\/p>\n <\/p>\n Structurally, the recording intersperses three long-form soundscapes, one for each day, with three interludes that feature electronic treatments largely absent in the longer settings. \u201cFirst Day\u201d begins with movements and sounds\u2014footsteps, the chirp of birds and buzzing of flies\u2014littering the audio space before organ chords emerge. But rather than have the organ supplant the environmental sounds, the instrument becomes only an occasional presence, with the larger concentration on other sounds\u2014at one point the chanting of a distant choir competes with industrial hum of some unidentifiable kind. One might expect that the other day settings wouldn’t differ radically from the first, given the repetitive nature of daily activity within the sanctuary, and, true enough, while there are contrasts of detail that differentiate the three, they’re very much related. In \u201cSecond Day,\u201d shimmering organ chords and chanting are heard alongside thunderstorms and human activity (movements, rustlings, footsteps), while \u201cThird Day\u201d allows static noise to seep in alongside echoing droplets until, in a bold departure from the established template, the material grows increasingly abstract and more ambient drone-like in design.<\/p>\n <\/p>\n In terms of the interludes, \u201cStillness\u201d is an overtly electronic-styled exploration that excludes field recording content, in contrast to \u201cDuration,\u201d which merges electronics with sounds of winds blowing and organ chords intoning. Interestingly, the album’s closing piece, \u201cAletheia,\u201d uses as its title a Greek word that means unconcealedness or disclosure and is also one that received renewed attention through Heidegger’s philosophy, which in Being and Time (Sein und Zeit) deals heavily with notions of concealedness and uncovering. In a sense, Riparbelli’s goal is much the same as Heidegger’s, even if the sound artist’s focus is more site-specific. In truth, Three Days of Silence – The Mountain of the Stigmata isn’t so different from 4 Churches that the owner of the Touch recording necessarily needs the newer one; regarding it as an entity unto itself, on the other hand, enhances its value. – May 2012<\/p>\n link<\/a><\/p>\n <\/p>\n
\nGruen 102 | Audio CD > [order<\/a>]
\nMP3 & FLAC > [order<\/a>]<\/p>\n![\"Pietro](\"https:\/\/www.gruenrekorder.de\/Photos\/innen_gruen102.jpg\" "\\"Pietro")
<\/a><\/p>\n![\"Pietro](\"https:\/\/www.gruenrekorder.de\/Photos\/01-Outside-the-basilica_6.4.jpg\" "\\"Pietro")
<\/a><\/p>\n![\"Pietro](\"https:\/\/www.gruenrekorder.de\/Photos\/10-Basilica_20.48.jpg\" "\\"Pietro")
<\/a><\/p>\n
\nCD (500 copies)<\/p>\n
\nAfter seeing a vision of a seraphim he began to develop nails of hardened flesh which protruded from his hands and feet. He also began to form a wound in his side like that of Christ. Thus La Verna came to be seen as sacred ground. Pope Alexander IV took it under his protection.<\/p>\n
\nThree days collection of field recordings each one accompanied by a photo of the relative place.<\/p>\n
\nGermany \/ 2012 \/ Gruen 102 \/ LC 09488 \/ EAN: 4050486063934<\/p>\n
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\nLa Verna is a lovely place in Tuscany where I have visited some years ago as part of a tour to see the paintings of Piero della Francesca. It’s famous as the area where St Francis received the stigmata and there’s a shrine built where the incident took place. Sound artist Pietro Riparbelli has surpassed my one-day tourist trip with a three-day sojourn at the Sanctuary in La Verna. It looks like he really got „into“ the place and its sounds in a big way and turned the experience into the art statement that is Three Days of Silence (GRUENREKORDER GRUEN 102). He collected field recordings from around the mountain area and also recorded the ceremonies of the monks, assembling the results into this carefully-structured work; he intends it to be a document of the complete experience, and through his compression he presents an authentic rendition of the three days in the space of less than one hour. He succeeds admirably in conveying the stillness and peace of the place, and provides another chapter in his ongoing mission to present the aural truth about certain sacred locales around the globe which he has selected. Given that previous instalments in the Riparbelli scheme have been quite alarming, psychologically disturbing, or even supernatural in nature, this beautiful release is welcome for its abiding sense of spiritual warmth and inner stillness, and it has a clarity and lightness that is refreshing. For those who seek more information about his time in the mountain, Pietro has made available online all his original source materials, and relevant pages from his diary. Arrived 5th April 2012.<\/p>\n
\nPietro Riparbelli spent three days recording in the remote Sanctuary of La Verna, a monastery on a mountaintop in Tuscany. With a simple mic and field recorder set-up, he documented the sounds of the Sanctuary, inside and out; as well as the life that goes on within its boundaries. He took these sounds and constructed the six tracks found on this album – whilst also making the original recordings available from the label website.<\/p>\n
\nE‘ una ricerca che, passata attraverso una serie di lavori concettualmente molto forti – come l’indagine condotta con una videocamera attraverso dei segnali ad onde corte di un manicomio e dell’opera di un suo paziente – si arricchisce di ulteriori elementi nell’album in oggetto.
\n„Three Days of Silence“ \u00e8 basato su una serie di registrazioni ambientali effettuate nel Maggio 2011 presso il santuario della Verna, in Toscana, durante un periodo di residenza di tre giorni trascorso dall’autore in osmosi con i luoghi ed i rituali religiosi del monastero.
\nAttraverso un analisi entomologica e disadorna condotta con l’uso di registrazioni ambientali ( echi di passi, il canto degli uccelli, il suono di un organo e delle campane, il riverbero di un coro), Riparbelli traccia ancora una volta una via limitare, metafisica ai luoghi esplorati, contribuendo a quella che lui stesso definisce come la „creazione di una dimensione ‚altra‘ oltre quella sonora: una dimensione che porta l’ascoltatore ad un passo ulteriore oltre l’ascolto, o ad un ascolto ‚diverso'“.
\nPartendo dalla lezione di Carl Michael von Hausswolff e Leif Elggren, Riparbelli si spinge lungo il crinale isolazionista per portare alla luce (significativo a tal riguardo \u00e8 lo studio del fenomeno delle „onde residue“ condotto dall’autore negli ultimi anni) una realt\u00e0 fatta di elementi celati all’esperienza sensoriale. Un processo che, come nel caso di „Three Days of Silence“, parte dalla ricostruzione filologica per giungere, attraverso una rappresentazione percettivamente potente dei luoghi analizzati, ad un’esperienza di particolare suggestione.
\nlink<\/a><\/p>\n
\nI lavori di Pietro Riparbelli\/K11 mi hanno sempre colpito anche per le forti capacit\u00e0 evocative degli ambienti in cui vengono registrati i suoni poi elaborati nei dischi: dopo avere ascoltato registrazioni della cattedrale di Assisi, dell’abbazia di Telema e del parco dei mostri di Bomarzo, in questo Three Days Of Silence il luogo prescelto \u00e8 stato il santuario della Verna, tra le colline della toscana. La vera e propria sintesi sonora dei tre giorni passati nel santuario tra rumori e silenzi coglie davvero l’atmosfera sacra e meditativa del posto e le foto delle grafiche rendono l’idea di questo affascinante eremo fuori dal mondo. L’ennesimo viaggio di Riparbelli in luoghi dove l’uomo prova ad avvicinarsi al mistero \u00e8 ancora una volta riuscito, mantenendo forte la sua caratteristica immediatezza e semplicit\u00e0 tutta toscana e mai scivolando nella banalit\u00e0: ogni disco in effetti si differenzia dagli altri, giocando con la stessa formula ma non ripetendosi mai. Questa volta ci sono brani di puro field recordings tra porte che si chiudono, passi ed echi davvero molto suggestivi, ma anche brani parzialmente suonati e molto ambientali a formare una dark ambient affascinante, contemplativa e misurata: il quadro che ne esce fuori \u00e8 particolare e intrigante e come sempre mi ispira il desiderio di visitare quel luogo, di ricercare quei suoni e quelle emozioni in prima persona.<\/p>\n
\n(TM) Im Mai 2011 verbrachte der Soundk\u00fcnstler Pietro Riparbelli drei Tage im Kloster von La Verna in der Toskana, gelegen auf einem H\u00fcgel, der sich \u2018Berg der Stigmata\u2019 nennt (der heilige Franz von Assisi soll hier seine Stigmata erhalten haben). Mit seinem Mikrofon machte Riparbelli Feldaufnahmen des Klosterlebens und der es umgebenden Natur. \u201cThree Days Of Silence\u201d ist, wie Riparbelli selbst sagt, eine \u201cph\u00e4nomenologische H\u00f6rerfahrung\u201d. Vor dem H\u00f6ren hatte ich eine bestimmte Erwartungshaltung, die \u2013 surprise, surprise \u2013 viel mit Stille zu tun hatte. Diese wurde jedoch komplett unterlaufen: \u201cThree Days Of Silence\u201d ist alles andere als still. Riparbelli nimmt die Feldaufnahmen als Rohmaterial f\u00fcr seine an Industrial und Drone ankn\u00fcpfenden Kompositionen. Das ergibt einen erhellenden Effekt. Nicht Meditation ist das Ziel, jedenfalls nicht in der allgemein an den Begriff \u2018Kloster\u2019 ankn\u00fcpfenden Weise. In Riparbellis St\u00fcck werden die T\u00f6ne des religi\u00f6sen Lebens eingebettet und oftmals \u00fcberlagert von den Kunstst\u00fccken, die das technische Equipment daraus machen: Der Klang der Orgel, der fern wie durch Nebel durch eine dr\u00e4uende Wall of Sound h\u00f6rbar wird, der Gesang der M\u00f6nche, zu dem man sich k\u00e4mpfen muss. Riparbelli macht das Klosterleben sehr weltlich erfahrbar, und auch sein Vorgehen nachvollziehbar. Denn die CD ist nur eines von drei Teilen, die das Gesamtwerk bilden; Teil zwei sind die Fotos aus La Verna, die Riparbelli jeweils mit einer originalen Feldaufnahme des jeweiligen Ortes verbindet, Teil drei ist das Tagebuch, das er \u00fcber den Besuch f\u00fchrte. Um sich also das gesamte Bild zu machen, sollte man nach dem H\u00f6ren auch mal auf die entprechende Webseite surfen (s. u.).
\nPietro Riparbelli: Three Days Of Silence. The Mountain of the Stigmata. Gruenrekorder.
\nwww.three-days-of-silence.gruenrekorder.de<\/a><\/p>\n
\nJ\u2019ai eu la chance de passer quelques heures au sanctuaire de la Verna, en Toscane. Les nuages \u00e9taient noirs et semblaient contenus par la for\u00eat et la roche qui donnent son caract\u00e8re au lieu. Pietro Riparbelli y a pass\u00e9 trois jours, lui, partageant la vie des moines, enregistrant les respirations de cette b\u00e2tisse fond\u00e9e par Saint-Fran\u00e7ois d\u2019Assise pour en faire ce CD, Three Days of Silence.<\/p>\n
\nThe monastic life remains inscrutable to those outside the conclaves.\u00a0 No matter how many films or books cover the subject, the internal, contemplative path can only be experienced through participation.\u00a0 In an effort to understand the isolated, yet strangely communal lifestyle of La Verna\u2019s monks, Pietro Riparbelli spent three days at Tuscany\u2019s \u201cmountain of the Stigmata\u201d listening and recording.\u00a0 As readers of this site know, the art of listening includes not only listening to apparent sounds, but suggested sounds, and not only to sound but to the profound nature of silence.\u00a0 And where better to encounter silence than a monastery?<\/p>\n
\nThree Days of Silence is described by its composer as being \u2018a phenomenological experience\u2019. \u2018Phenomenological\u2019 meaning: \u2018the detailed description of conscious experience, without recourse to explanation, metaphysical assumptions, and traditional philosophical questions\u2019.<\/p>\n
\nTHREE DAYS OF SILENCE by Italy\u2019s Piero Riparbelli is another highly successful Gnostic journey through real time interfaces with cranky technology. And am I talking cranky or what, brothers\u2019n\u2019sisters. However, like the late \u201850s Tokyo school of musique concr\u00e8te, Riparbelli deploys his field recordings in such an exquisite manner that his new album makes for endless repeated listenings. Adventuresome, avant-garde but horribly more-ish. Recorded in La Verna monastery high up in Tuscany\u2019s Apennines, Riparbelli lived long enough with the monks to catch their many vocal performances, along with stairwell comings and goings, mealtimes, performances upon the huge church organ, muttering, even utter silence. Putting all of this together with considerable flair and passion, Piero Riparbelli has brung forth a right old magickal concoction, and sprung the beast via Germany\u2019s Gruenrekorder label. Imagine Rolf-Ulrich Kaiser had released field recordings of the preparations at Stiftskirche Baumburg made for Popol Vuh\u2019s enormous \u2018Vuh\u2019 extragavanza, and I believe yooz close to Riparbelli\u2019s pleasure centre. File this Supersucker under \u2018Ambulant\u2019\u2026 Hell yeah!<\/p>\n
\nAuf den Pfaden von Franz von Assisi (1181\/1182 \u2013 1226) \u201cwandelt\u201d Pietro Riparbelli, dessen Projekt \u201cCathedrals\u201d ausschlie\u00dflich in Kirchen get\u00e4tigte Feldaufnahmen bereith\u00e4lt, nicht erst seit \u201cThree Days Of Silence\u201d (The mountain of the Stigmata), wof\u00fcr der Italiener s\u00e4mtliche Feldaufnahmen innerhalb eines dreit\u00e4gigen Aufenthaltes auf dem Alverna (auch: La Verna), ein Berg (auch Monte Penna genannt) des zentralen Apennins in der Toskana, welcher der bevorzugte Ort des Heilige Franziskus zum Beten war, der ihm (zudem) seine Stigmatisation (bezeichnet das Auftreten der Wundmale Christi am K\u00f6rper eines lebenden Menschen) \u201cschenkte\u201d.<\/p>\n
\nAktuell geh\u00f6rt Pietro Riparbelli f\u00fcr mich zu bewegendsten Sounddesigener \u00fcberhaupt, das einmal mehr \u201cThree Days Of Silence\u201d unterstreicht \u2013 ein weiteres Meisterwerk im Backkatalog des Italieners, der mit seiner ph\u00e4nomenalen Tonkunst zu berauschen wie \u00fcberzeugen wei\u00df \u2013 meine absolute Topempfehlung! PS: Es besteht Kaufpflicht und nicht nur f\u00fcr ausgewiesene Pietro Riparbelli J\u00fcnger, sondern auch f\u00fcr alle Freunde von anspruchsvollem Dark Ambient\/ Ritual Industrial!<\/p>\n
\nThis edition is part of the Soundscape Series of the German label Gruenrekorder and in this ocassion presents Pietro Riparbelli’s work, who is a philosopher, composer and sound artist living in Livorno, Tuscany.
\nRiparbelli has released in several European and U.S. labels where he has also done performances and installations.
\nRiparbelli’s work focuses on the phenomenon of spatial perception and the contrast between the visible and the invisible that is linked to the concept of soundscape.
\nThe disc consists in field recordings made between May 3-5, 2011 at the Sanctuary of La Verna, built in the Thirteenth Century located in the top of a mountain called ‚the mountain of the Stigmata‘ in Tuscany. There he lived with the monks, attending ceremonies and recording the sounds of the place, trying to capture the essence of contemplation.
\nThe disc contains three long tracks, one for each day, and three interludes, where electrononic treatments merge with field recordings.
\nIndeed silence is an element present in each track and the background noise with people walking, bird songs, a choir and organ sound at the distance and bells. All this comes from the organic and acoustic world, as it is intervened by synthetic sounds such as drones, static noise.
\nThis work accurately records the atmosphere of the Sanctuary, where the stillness, worship and silence are part of that ‚perception of the phenomenon‘.<\/p>\n
\n\u0412 1224 \u0433\u043e\u0434\u0443 \u043d\u0430 \u0433\u043e\u0440\u0435 \u041b\u0430 \u0412\u0435\u0440\u043d\u0430 \u0443 \u0421\u0432\u044f\u0442\u043e\u0433\u043e \u0424\u0440\u0430\u043d\u0446\u0438\u0441\u043a\u0430 \u0410\u0441\u0441\u0438\u0437\u0441\u043a\u043e\u0433\u043e \u043f\u0440\u043e\u044f\u0432\u0438\u043b\u0438\u0441\u044c \u0441\u0442\u0438\u0433\u043c\u0430\u0442\u044b, \u0441\u0434\u0435\u043b\u0430\u0432 \u0435\u0433\u043e \u0435\u0449\u0435 \u0431\u043b\u0438\u0436\u0435 \u043a \u043f\u0435\u0440\u0435\u0436\u0438\u0432\u0430\u043d\u0438\u044e \u0432\u0441\u0435\u0445 \u0441\u0442\u0440\u0430\u0441\u0442\u0435\u0439 \u0425\u0440\u0438\u0441\u0442\u043e\u0432\u044b\u0445. \u0412 \u0447\u0435\u0441\u0442\u044c \u044d\u0442\u043e\u0433\u043e \u0441\u043e\u0431\u044b\u0442\u0438\u044f \u043d\u0430 \u0441\u043a\u043b\u043e\u043d\u0435 \u0433\u043e\u0440\u044b (\u043f\u043e\u043b\u0443\u0447\u0438\u0432\u0448\u0435\u0439 \u043d\u0430\u0437\u0432\u0430\u043d\u0438\u0435 \u0413\u043e\u0440\u0430 \u0421\u0442\u0438\u0433\u043c\u0430\u0442\u043e\u0432) \u0431\u044b\u043b\u0430 \u043f\u043e\u0437\u0434\u043d\u0435\u0435 \u043e\u0440\u0433\u0430\u043d\u0438\u0437\u043e\u0432\u0430\u043d\u043d\u0430 \u043e\u0431\u0438\u0442\u0435\u043b\u044c, \u043d\u0435\u0431\u043e\u043b\u044c\u0448\u043e\u0439 \u0445\u0440\u0430\u043c \u0438 \u043c\u043e\u043d\u0430\u0441\u0442\u044b\u0440\u044c, \u0441\u0442\u0430\u0432\u0448\u0438\u0435 \u043f\u043e\u043f\u0443\u043b\u044f\u0440\u043d\u044b\u043c \u043c\u0435\u0441\u0442\u043e\u043c \u043f\u0430\u043b\u043e\u043c\u043d\u0438\u0447\u0435\u0441\u0442\u0432\u0430 \u0443 \u043a\u0430\u0442\u043e\u043b\u0438\u043a\u043e\u0432 \u0432\u0441\u0435\u0433\u043e \u043c\u0438\u0440\u0430. \u041f\u0430\u043b\u043e\u043c\u043d\u0438\u0447\u0435\u0441\u0442\u0432\u0430, \u0442\u0440\u0435\u0431\u0443\u044e\u0449\u0435\u0433\u043e \u043d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u0443\u0441\u0438\u043b\u0438\u0439, \u0432\u0435\u0434\u044c \u0433\u043e\u0434\u0430 \u043d\u0430\u0445\u043e\u0434\u0438\u0442\u0441\u044f \u0432 \u0434\u043e\u0432\u043e\u043b\u044c\u043d\u043e \u0438\u0437\u043e\u043b\u0438\u0440\u043e\u0432\u0430\u043d\u043d\u043e\u043c \u043c\u0435\u0441\u0442\u0435, \u0430 \u0432\u044b\u0441\u043e\u0442\u0430 \u0435\u0435 \u0441\u043e\u0441\u0442\u0430\u0432\u043b\u044f\u0435\u0442 1283 \u043c\u0435\u0442\u0440\u0430 \u2013 \u0437\u0430\u0442\u043e, \u0441\u043e\u0433\u043b\u0430\u0441\u0438\u0442\u0435\u0441\u044c, \u0442\u0440\u0443\u0434\u043d\u043e \u043d\u0430\u0439\u0442\u0438 \u0431\u043e\u043b\u0435\u0435 \u0443\u0434\u043e\u0431\u043d\u043e\u0435 \u043c\u0435\u0441\u0442\u043e, \u0447\u0442\u043e\u0431\u044b, \u0432 \u0442\u0438\u0448\u0438\u043d\u0435 \u0438 \u0441\u043f\u043e\u043a\u043e\u0439\u0441\u0442\u0432\u0438\u0438 \u0441\u0432\u044f\u0442\u044b\u0445 \u0441\u0442\u0435\u043d \u043f\u043e\u0447\u0443\u0432\u0441\u0442\u0432\u043e\u0432\u0430\u0442\u044c \u0441\u0435\u0431\u044f \u0431\u043b\u0438\u0436\u0435 \u043a \u0411\u043e\u0433\u0443 \u0447\u0435\u043c \u043a\u043e\u0433\u0434\u0430 \u0431\u044b \u0442\u043e \u043d\u0438 \u0431\u044b\u043b\u043e.<\/p>\n
\nWhen buried with a lot of releases to review for Vital Weekly, I sometimes wish to retreat to a monastery and not be interrupted by such mundane things as e-mail, telephone, shopping and just blend in with the tranquility of monastery life. Pietro Riparbelli did visit a sanctuary, Sanctuary of La Verna on top of a mountain in Tuscany, where Saint Francis of Assisi supposed to have gotten his stigmata and recorded life over there during three days. Here he has six pieces, three of them I believe are pure field recordings and three are compositions he created out of these basic sounds. Not that is easy to tell the difference, certainly if you don’t play close attention to when the track ends and moves to the next. For the busy western man, non believer at that, perhaps the closest I can get to monstary life, I guess. Riparbelli captured the sounds and the atmospheres of the sanctuary pretty well – the overall idea of this release is ’silence‘ without being silent. The large empty spaces with a minimum of sound information, the garden and rain in it, the vaguely humming of what could be the church organ, its all there. Music that slowly unfolds and that could invoke a religious experience (government health warning not included here). In the ‚Third Day‘ piece we have the most musical experience, with crackles and what seems to be some sort of stringed instrument, but for all I know it could be the repeated sound of the bucket in the well to get water. A very contemplative release altogether. Excellent soundscaping.<\/p>\n