#lorenz weber

[cheminer-poesie-cressant]

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composer avec ce qui reste composer avec les amorces avec les recommencements la note qui tente, qui échoue la note qui se soustrait pour se fixer rien au-delà pour avancer rien au-delà pour arriver la pureté tient dans l’éclosion

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the note that attempts, that fails the note that withdraws to settle dealing with what remains dealing with beginnings with new starts nothing beyond to move forward nothing beyond to arrive purity lies in blossoming

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© Pierre Cressant   (mercredi 30 octobre 2024)

[caviarsonoro]

Béla Tarr : Damnation / Lorenz Weber : norrsken

Llueve en silencio, que esta lluvia es muda y no hace ruido sino con sosiego. El cielo duerme. Cuando el alma es viuda de algo que ignora, el sentimiento es ciego. Llueve. De mí (de este que soy) reniego…

Tan dulce es esta lluvia de escuchar (no parece de nubes) que parece que no es lluvia, mas sólo un susurrar que a sí mismo se olvida cuando crece. Llueve. Nada apetece…

No pasa el viento, cielo no hay que sienta. Llueve lejana e indistintamente, como una cosa cierta que nos mienta, como un deseo grande que nos miente. Llueve. Nada en mí siente…

Fernando Pessoa

[acertainspace]

Shoto

Music_Lorenz Weber Haiku_松 濤

https://minui.bandcamp.com/album/shoto "Shoto" literally means, "pine-waves," that is, the motion that pine trees make when the wind passes through them. As the wind goes through the pines, their waves fill the pianist and speak through him, giving nature a tonal voice - the waves of the wind. Open your ears to these persistent resonances as the notes slowly die out - the contrast - one shimmers while the other has a darker, almost nocturnal feeling. It really is the feeling of just being on the edge of silence, but never quite - never final. In Japanese poetry, haiga is haiku traditionally accompanied by an ink brush drawing. Inspired and reinterpreted by this, the new album merges with a kind of interactive haiga. Each page generates a pause." _ enjoy it, in a quiet place. _ Regarding minui, we will keep this project as simple and organic as possible, in every sense of the word, so we have reduced our platforms and "social" media accounts, trusting in the word of mouth. If you feel like sharing the project or any of the releases with your friends, wanting to make a review here or somewhere else, an interview, etc., we would be very thankful <3 There are a couple of things to have in mind_ Block of one note _ is the object we are producing now, it is meant to be hanging on your walls, but of course, you are free to use it or place it however wished. Get before date / gbd _ is the idea of limiting the production of an object by time. At the moment the date is announced but could change in the future. Made on-demand _ it is produced after the request, specially made for the person. Digital albums will stay for free. However, with the object, you will get its whole experience; the music, the haiku, and the illustration. _

[caviarsonoro]

Lorenz Weber:  Pégaso - Spoken Word

Cuando las árboles se acercan al viento,  una criatura nace. El cavallo de al lado aparece. 

Entre los soplos, murmullos y susurros,  azul y amarillo se funden en un horizonte desconocido.

Ves sus alas y sientes su rastro en la piel.

[caviarsonoro]

Listen to: blossoming by Lorenz Weber

Yo escucho el viento que borra mis huellas. El viento que nada recuerda y que ni entiende ni se preocupa de lo que hace, pero a quien es tan bello escuchar. El viento suave, suave como el olvido. Cuando amanezca de nuevo seguiré mi camino. En el apacible amanecer comenzaré de nuevo mi viaje con el primero de todos los pasos sobre la hermosa arena virgen.

Pär Lagerkvist

[caviarsonoro]

Béla Tarr : Damnation / Lorenz Weber : norrsken

This video proposes a dialogue between the music of German composer Lorenz Weber and the images of Damnation (1988) by Hungarian filmmaker Béla Tarr.

Both works share a conception of time as a plastic material and silence as a structural form. In Weber’s music, stillness becomes expanded sound: a piano with a soft attack, lingering resonances, and open harmonies that establish a state of suspension. In Béla Tarr’s cinema, that same stillness takes shape through duration, repetition, and a gaze that persists, stripping movement of any narrative urgency.

The piece Norrsken (a Swedish term meaning aurora borealis), by Lorenz Weber, belongs to the album Norrland (2022), conceived as a meditation on light, space, and solitude across the landscapes of the North. The work unfolds from a minimal idea that breathes slowly, suspended between sound and silence. Each note seems to dissolve into the air, seeking neither resolution nor direction, as if the music merely allowed itself to exist.

In Damnation, Béla Tarr constructs a kindred territory: a gray world, immobilized by rain and disenchantment, where waiting becomes an existential experience.

The union of both languages, the visual and the sonic, creates a profound correspondence: the music illuminates the image’s penumbra without dispelling it, while the image gives the music a body in which to resonate.

The result is an audiovisual essay on immobility, loss, and the persistence of beauty within emptiness. By combining Weber’s timbral precision with Tarr’s visual density, the video reveals a shared aesthetic: that of silence as resistance, suspended time as a form of thought, and contemplation as a way of continuing to exist when everything seems to have stopped.

[caviarsonoro]

Andrei Zvyagintsev - Izgnanie (The Banishment) / Lorenz Weber - 01​​:30

Izgnanie (The Banishment) 2007, directed by Andrei Zvyagintsev, is a deeply introspective film that tackles themes of guilt, remorse, and the fragility of human relationships. Visually, it is a masterpiece, with meticulously crafted cinematography that reflects the emotional and physical isolation of the characters. 

The long takes and desolate landscapes emphasize the oppressive atmosphere and sense of alienation. The narrative centers on tension and mistrust within a family, exploring how secrets and misunderstandings can lead to devastating consequences. 

Zvyagintsev, known for his style reminiscent of Tarkovsky, employs a slow pace that allows for deep immersion into the characters' psychology, which may be challenging for some viewers but fascinating for those who appreciate contemplative cinema. 

The performances are restrained and loaded with implicit emotions, especially that of the protagonist, who conveys a blend of desperation and moral ambiguity. The film is a meditation on faith, redemption, and the capacity of people to confront the truth, making it an intense and thought-provoking experience. 

The piece 01:30  from “Wintermusik" by Lorenz Weber evokes a deeply introspective and melancholic atmosphere, characteristic of contemporary minimalism. The composition stands out for its subtle use of the piano, weaving a delicate and enveloping sound texture. The chords and harmonic progressions, seemingly simple, manage to convey a sense of calm, yet with an underlying emotional restlessness. 

The choice of slow and measured tempos allows the listener to immerse themselves in a state of contemplation, making each note resonate meaningfully. The piece captures an essence of winter solitude, as suggested by the title, while evoking images of serene, snow-covered landscapes. 

The use of space between the notes and the piano's resonance adds an ethereal quality that enhances the intimate and personal character of the music.

https://lorenzweber.bandcamp.com/track/01-30

[caviarsonoro]

Lorenz Weber : Everything remains one

Regresaré al poema como a la patria a la casa Como a la antigua infancia que perdí por descuido Para buscar obstinada la sustancia de todo Y gritar de pasión bajo mil luces encendidas.

Sophia de Mello