so happy and delighted to be part of this collaboration album. out now
if you pronounce CEEYS the right way and remember our album HIDDENSEE you know why this dedication to the MEDITERRANEAN SEE is more than music. its to be part of sth above.
“Mediterraneo is a tribute to a sea that suffers, that is now the scene
of profound human and ecological drama. For this reason, all proceeds
from the project will be donated to two Italian NGOs involved in the
Mediterranean Sea, both on the environmental side (MareVivo Onlus) and
the humanitarian side (Mediterranea, Saving Humans).
Six years ago, the
first Piano Day was declared to celebrate the virtues of the keyboard
instrument. Four years ago, with the event gaining popularity around the
world, Hungary also joined in. This piano festival takes place on the
88th day of each year – the number of keys on the keyboard (although in
leap years like 2020 it takes place on the 89th day). This will be Müpa
Budapest’s second time hosting the events held in the Hungarian capital.
At this year’s concerts being presented from early afternoon to late
evening in various spaces around the building, the sound of the piano
will be supplemented by the music of the human voice and other
instruments. In addition, all of the performances of the compositions in
the programme will be Hungarian premières, and all of the international
guest artists will be making their Hungarian débuts.
The concerts making up Budapest’s celebration of Piano Day 2020, which was established at the initiative of Nils Frahm, one of the contemporary fixed stars of meditative electroacoustic music based on classical and minimalist foundations, and the artists performing them, will all be firsts in one sense or another, and most of the events will feature duos. The Hungarian performers opening the programme will be coordinating their openness in an improvised fashion: the pianist vaghy already associates the vibrations produced by the 88 keys of the piano with electronic music. Adding to this will be the cellist Endre Kertész, a musician familiar from a number of line-ups. Representing Sweden will be Jakob Lindhagen and Vargkvint: when they join forces, these two artists from different career paths – the former is also known for his film music, while the latter’s album from last year was inspired by the ocean – prove to be inventive instrumentalists, even introducing a singing saw into their music. What makes the piano/ambient/electronic chamber pop of Tom Adams memorable is his falsetto voice, while the German piano/cello duo CEEYS stand out with productions embellished with vintage socialist-era instruments from the two brothers’ youths in East Germany. The closing concert will be performed by Italy’s Luca D’Alberto, who can only rarely be tempted to stray from his homeland. With two guest artists joining him, his electroacoustic programme promises to be a grand and complex experience.
Tracklist: 12 Ensemble – Honey Siren_ I. (Like thick air) CEEYS – Waende Julia Gjertsen – The Fountain Caroline Shaw & Attacca Quartet – Plan & Elevation- II. The Cutting Garden Johann Johannsson – Melodia (III) 12 Ensemble – Honey Siren_ II. (Full like drips) Mark Pritchard – Sad Alron Hildur Guðnadóttir – Heima Calibre – Five Minute Flame Vanessa Wagner – Elf Dance (Suzanne Ciani version) Anne Müller – Solo? Repeat! Félicia Atkinson – Lush Kelpe – All The Way Round Jon Hassell – Last Night The Moon Came Squarepusher – Detroit People Mover Shigeto – Divine Family 12 Ensemble – Fljótavík
Toronto went through a major building boom in the 1960s and 1970s,
and this means that a fairly large chunk of the architecture that I grew
up around was of the concrete brutalist variety. Hulking, monolithic
structures, often with windowless exteriors that seemed to tell you that
whatever goes on inside is none of your business. There’s so much
concrete here, it’s inspired a book.
The last ten years have brought another building boom to the city,
but the most common material this time around, at least for cladding, is
glass. Toronto’s 21st-Century buildings are generally sleek,
translucent, and blinding if the sun is at the right angle. The glass
walls mean that whatever goes on inside is your business, whether you
like it or not.
The combination of these two styles can make for an
interesting walk. You can feel as if you’re walking through a Soviet university
campus one moment, and the Google headquarters the next. It doesn’t do much for
consistency, but I like the feeling of being able to see the growth rings of
the city through its architectural trends.
The only other city where I’ve seen such an obvious contrast
Despite being much older than Toronto, many of Berlin’s
buildings are mid-century or later, because so much of the city was destroyed
in the war. Germany’s modern wealth is evident in its architecture, but its
divided past is still there too. Berlin has been unified for a generation, but
the architectural difference between east and west still shows.
The music of Berlin-brother duo Ceeys reflects, by design, the stark apartment blocks of the part of East Berlin where they grew up:
At least in the beginning,
this building project was full of good intentions. But the 80s were the
last decade of the communist-driven GDR and the endless grey blocks of
cold concrete and steel now merely communicate an atmosphere of
anonymity and oppression. Then again, this is where we had our daily
lives with friends, school and holidays.