ViPerArp Trio - Varina Fortin, Lucia Stone, Marica Veronese

ViPerArp Trio (CVLD346)

Varina Fortin, violin
Lucia Stone, harp
Marica Veronese, percussion

Available in: CD, HD File

01 - Bohemian Rhapsody (Queen) 6:32
        Freddy Mercury
02 - Paint It Black (The Rolling Stones) 3:56  
        Mick Jagger, Keith Richard
03 - Always Remember Us This Way (Lady Gaga) 3:27
        Lady Gaga
04 - Firth Of Fifth (Genesis) 7:47
        Peter Gabriel, Steve Hackett, Mike Rutherford, Tony Banks, Phil Collins
05 - Resistance (Muse) 6:01
        Matthew Bellamy
06 - Can't Help Falling In Love (Elvis Presley) 4:14
        Hugo Peretti, Luigi Creatore, George David Weiss
07 - Stairway To Heaven (Led Zeppelin) 7:50
        Jimmy Page, Robert Plant
08 - Your Song (Elton John) 5:28
        Elton John, Bernie Taupin
 
Total time: 45:20  -

All Arrangements by Oscar Del Barba

  
24bit / 88.2kHz original digital recording made at Magister Area Recording, Preganziol, Italy, on July 5, 6, 7, 2022
 
Production: VELUT LUNA
Executive producer: Marco Lincetto
Balance recording and mix engineer: Marco Lincetto
Musical producer: Mattia Zanatta
Editing engineer: Mattia Zanatta
Final and fine editing: Andrea Valfrè
Mastering engineer: Marco Lincetto
Photo: Marco Lincetto
Design and layout: L'Image
Social media manager: Massimo Corvino Consulting
 
"There are two types of music: good music and everything else"
Edward Kennedy "Duke" Ellington

This quote from the great Duke is reiterated by many other keen and attentive musicians, albeit with different variations in form but the same substantial essence. For example, Adriano Lincetto, my father, often said that there is no "Classical Music" or "Pop Music", or "Jazz Music"... there is only Beautiful Music and Bad Music. And indeed, he, a great academic pianist, composer, piano teacher, loved equally, for example, Beethoven's Appassionata, as well as Yesterday by The Beatles or Sassi by Gino Paoli.
This concept is also what primarily guided my choice to found, almost thirty years ago, a record label alternative to the rigid choices of majors and all those so-called "mainstream" operators.
A project like this ViPerArp Trio represents the closest and most intimate essence of this reasoning.
It is not a "provocative" project; on the contrary: it aims precisely to break down the barriers between genres once again, with the objective of magnifying the very essence of Music.
I personally chose the eight songs that make up this album, all very famous and of "popular extraction", meaning written and made famous and immortal by definitive authors and performers in the popular imagination.
I chose these songs and entrusted them to the expert hands of a modern musical genius like Oscar Del Barba, who made them the object of his reflections and attention.
His work was to filter melodies, harmonies, and musical rhythms, natively fixed and established in a precise genre direction, through his knowledge and personal sensitivity, which seamlessly transitions from Stravinsky to South American rhythms, from Bartok to Charlie Parker, in a florilegium of new, enchanting, absolute colors and emotions.
I believe that this work can represent a kind of perfect paradigm translated into sounds of Duke Ellington's initial quote.
And I hope that it can represent a moment of leisure, but also of cultural growth for anyone who wants to buy it, listen to it, and enjoy it, putting aside all prejudice and structural preconceptions.
 
The performers of this adventure, in turn, were able to shed their "role clothes" as very serious "classical" musicians with impeccable curricula, spent between Conservatory classrooms and prestigious stages of the most renowned theaters worldwide. That is, they were able to descend from the academic chair that characterizes their main careers, to transform themselves into Muses of a New Music, which, as the great Maestro Ennio Morricone loved to say, we could define as Absolute.
Their instruments sometimes transform and transfigure into something else, like the violin that sometimes winks at the sound of an electric guitar or a vintage keyboard, or the harp that can go from a pulsating rhythmic engine to a sweet melodious lyre, and finally the infinite percussions that act as a counterpoint and glue to the work of the other two performers, not without carving out a solo role for themselves where you would least expect it.
Credit then to Oscar Del Barba who had the vision of all this on my perverse inspiration; and credit to the performers who were able to step out of their traditional role and immerse themselves as best as possible in our vision.