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1.
Quanno lu ninno nun dorm e chiagn’ essa lu connola cantanno, accussi’ doce ‘o fa addurmi’ he cantastorie e fa sunna’. N’auciello pure sta cantanno na’ voce roca s’avvicina ma si stai a senter sul’essa a voce ‘e primma sola, sarra’.
2.
Responsorio 04:53
Sidus procul amplector pura Luna supra caelum. Corona in alia corona inseritur remissa tempestate, multitudines miracula narrant quae nemo perspexit, et quamdiu ero hic, non posco viam. Longum iter quod ego ignoro, quod pedes mei ignorant. Conquiro tempus et reperio transitum, conquiro viam et reperio saeptum. (J. Tolentino Mendonça) Sine cantu nonnunquam cano sic ut sine orazione cogito. Caecitas quam Deus mihi dedit forma lucis est. Si procedo per viae meae, viae duo sunt. Alter illa qua ego ingredior, alter veritas ubi sum. In meo pectore in imo puteo est, lucis rima lucis cavum ad Deum, oculus, aedificatus a caelo. (F.Pessoa) E non so più agire e prego, prego non so ben dire chi e per cosa, ma prego: prego non, come accomoda dire al mondo, perché Dio esiste ma, come uso soffrire io, perché Dio esista. (Giorgio Caproni)
3.
4.
Imperfeito 08:31
Começo o dia louvando o imperfeito, o tempo que se inclina para o lado partido, as escassas laranjas que se tornam amarelas no meio da palha, as talhas sem vinho. Olho por dentro a brancura da manhã e em tudo quanto auxilia um homem um homem no seu ofício. Eo louvo o vulnerável e o inacabado Estou sentado aqui, quando Deus voltar, não terá de arrombar todas as portas (J. Tolentino Mendonça) Chi vo' bene 'a Maronna 'e ll'arco le purtasse nu core argiento ma pe me ca nun tengo niente chistu core le voglio da. Pigliatillo Maronna mia sbatte 'mpietto cu tanto ardore so' nu povero peccatore e t'o porto pe ce salvà. Comm'è 'ddoce sta campanella ca ce chiammà cu tutta 'a voce quando a sento me faccio 'a croce e currenno m'accosto a te. E currenno Maronna mia simme stanche 'e te cercà aiuto, nun 'o sciogliere chistu vuto io t'o 'ccerco pe carità. Chi t'ha fatto sta lividura nun è degno d'o paraviso nun se sciupa stu bellu viso comme a chillo ca tiene tu. Chi è devoto 'a Maronna 'e ll'arco. Sorè... 'a Maronna.
5.
Khalél Bou doné Lou n'daw, Dafa ame louy nék Thi gniome Khalél Bou doné Lou n'dawa n'dawa n'daw Dafa ame louy nék Thi gniom Lou nékoul Thi gnioun mak gni Wayé nank nank loumouy guen di mague Dafa Mélni Lolou déy deme di degnie thi gniom Sou magué lay sogeu khamé, Téy sogeu ragné Ghélaw, garap, ak yalla dhié Khalél Bou doné Lou n'daw, Dafa ame louy nék Thi gniom Té Faw gni diap si, Diangal lén, khamal lén. Louy adouna Khalél khamoul Dara Khalél Bou n'dawa n'dawa n'dawa n'dawa n'dawa n'dawa n'dawa, n'daw Yalla bour bi molén di Sameu Allahou lahilaha ila la, Waw Waw We must learn to breathe
6.
Et postremo, Deus redit instructus familiaritate et inopinatis prospiciens iam saecula. Oralis silentii humilis modus quem putamus moriturum esse. Ille qui descendit in imo pectoris verbos obliviscitur cognosco in animo tacere (José Tolentino Mendonça)
7.
Douce Dame 03:25
8.
Salam 04:37
9.
Brilha uma estrela sobre a austeridade imposta. Brilha sobre a dança interrompida, as mãos caladas, o silêncio mastigado em solidão. Brilha, brilha uma estrela, Brilha sobre os trilhos que fazemos para chegar a nenhuma parte, nesta aliança hesitante sobre a imperfeição das promessas, o inacabado da prece e do dom. (José Tolentino Mendonça) Creio no sol, mesmo quando não o vejo Creio no amor, mesmo quando não o abraço.

about

CREDO
by Orchestra di Piazza Vittorio
interfaith oratorio

«No peace among the nations without peace among the religions. No peace among the religions without dialogue between the religions.” Theologian Hans Küng wrote this some years back but its current relevance is plain for all to see. Measuring oneself against different cultural and religious directives has become all the more a necessity, and a greater number of artists are reflecting on this aspect of human coexistence. Credo seeks to find a musical definition for the expression “intercultural dialogue”, an interfaith oratorio including texts both written and selected by José Tolentino Mendonça, accompanied by original music by the Orchestra di Piazza Vittorio, music by Gioachino Rossini, Benjamin Britten, Guillame de Machaut, as well as Sufi songs and re-arranged religious compositions.

It is a work for nine performers from completely different backgrounds and calls for the use of unique instruments such as the kora, a harp-lute widely played in West Africa, and the oud, an Arabic instrument from the lute family, accompanied by more familiar “voices” like the cello and electric bass, and the organ, the traditional instrument in western sacred music, with a dash of electronic resonance.
It adds up to an intimate prayer, by no means traditional. The musical composition, in fact, doesn’t follow any specific codified references to Masses or oratorios, but rather it comes into being through a sequence of passages from texts, mostly original works by José Tolentino Mendonça, that are rendered through music with extreme stylistic freedom.

Regarding the structure, no one style has been favored over another. Cultural references to Western backgrounds can certainly be found in the Credo, but these interweave with diverse evocative proposals that come from afar but are examined closely, so avoiding the touch of the exotic that often seems to create immense distances. A complex work that cannot be classified into any one distinct style because it finds its own raison d’être in the combination of languages. A challenge that attempts to bring together continents that differ in their cultures, in their sounds, and in their histories. And perhaps in this endeavor, Credo finds its greatest moment of modernity in light of current events.

credits

released May 18, 2020

CREDO
by Orchestra di Piazza Vittorio
interfaith oratorio

artistic and musical director
Mario Tronco

produced and arranged by
Mario Tronco, Leandro Piccioni, Pino Pecorelli


Raffaele Schiavo Voice
Houcine Ataa Voice
Viviana Cangiano Voice
Anna-Maria Hefele Overtones, Nickelharp
Kyung Mi Lee Cello
Leandro Piccioni Keyboards
Pino Pecorelli Fender VI, Uku Bass, Electronics
Kaw Dialy Madi Sissoko Kora, Voice
Ziad Trabelsi Oud, W' tar, Dulcimer, Voice
Evandro Dos Reis Classical Guitar (track 4)
Stefano Vicarelli Synth (track 9)

Vagabundos s.r.l

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ORCHESTRA DI PIAZZA VITTORIO Rome, Italy

The birth of the Orchestra di Piazza Vittorio, in 2002, was propelled by cultural drivers with the intent of shining light and bring value to the city square that bears the same name, in Rome. The Orchestra promotes artistic research and the integration of different musical repertoire.The Orchestra has released five records, and has held over 1500 concerts in cities throughout the world. ... more

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