“UNTIL THE LAST RESONANCE”

Resonance as a common thread that leads the musician to explore the instrument in its entirety. The piano is a wonderful breathing body, to be kept alive until the last resonance.
  1. Suspended
  2. Until the last resonance
  3. Obstinate
  4. Interferenze
  5. Deep inside [to Marco Betta]

Ornella Cerniglia – piano | prepared piano
All music by Ornella Cerniglia

Recorded live in Palermo, Italy, 2022
Recorded by Alessandro De Rosalia
Edited and mastered by Maurizio Curcio
Artwork by Qmedia

“NOTTURNO PRIMO”
“NOTTURNO SECONDO”

The title of the tracks should not mislead the listener, although in Notturno Primo you can see the tripartite structure of the romantic nocturne in the background. The two tracks are linked together: the sound material of the first one, re-emerges and takes on greater clarity in the second one. The two Nocturnes want to be a eulogy to the night, not meant as a dark “place”, but as the moment when everything appears clearer to us, as the time when the mists of the day dissolve in the silence revealing what the light hides.
Artwork by G. Lo Bocchiaro

“L’ATTESA”

L’Attesa is the place to take refuge from the many inputs that beset our everyday life, the creation of a space of white time, freed from the background noise in which we are immersed, victims and accomplices of the model of having everything at once. Sit around waiting, today, is the initial (revolutionary?) act of creating a place where we can listen and listen again, virtuously vulnerable to the surprise for what we do not know or recognize, to the risk and the excitement of betrayal, the loss of control, perhaps to discover, back in the daily reality, that the guest or the moment long awaited from the future, have finally came from a memory we no longer knew we had.
In the last century the Waiting was one of the most common attitudes among the thousand refractions of sensitivity in which the artistic and musical avant-garde were articulated: the utopian, positive, of a revolution later revealed more delayed than the proverbial Godot, or the expectation of nuclear disaster, equally utopian and terrifying.
L’attesa is the title of the debut solo EP by Ornella Cerniglia, pianist, composer and catalyst of sensitivity, that anticipates the full-length album in the works for 2018. It is an invitation to share the space of Waiting, to make together, musician and listeners, the suspension of the rational time of profit, to invent a common interior space in which memory and future, wisdom and sensuality, art and craft can coincide in the present of listening.

L’attesa is the title of the debut solo EP by Ornella Cerniglia, pianist, composer and catalyst of sensitivity, that anticipates the full-length album in the works for 2018. It is an invitation to share the space of Waiting, to make together, musician and listeners, the suspension of the rational time of profit, to invent a common interior space in which memory and future, wisdom and sensuality, art and craft can coincide in the present of listening.

L’attesa born from an inevitable encounter between the Sicilian artist with Almendra Music, during the production of Kinderheim, the album of Mezz Gacano with the Self-Standing Ovation Boskàuz Ensemble, of which Ornella is resident pianist.

In tribute to the creative connections that are born at Almendra’s home, L’attesa also hosts a contribution by Giovanni Di Giandomenico on analog synth in the title track.

ALBERTO FAVARA
“SONG OF THE LAND AND THE SEA OF SICILY”

Between the late 19th and early 20th century, Alberto Favara set the melodies of the Sicilian oral tradition on a pentagram, with a rigorous and pioneering ethnomusicological method. From the Corpus of Sicilian popular music, published more than thirty years after his death, Favara selected the most significant songs, and harmonized them for voice and piano in a divulgative edition, published by Ricordi between 1907 and 1954, Songs of the land and sea of Sicily. About a century later, Irene Ientile and Ornella Cerniglia edited a recorded edition (SACD) for the Inedita label, offering for the first time a monographic selection of these magnificent songs, with a critical essay by Paolo Emilio Carapezza.