BAND: AUTUNNA ET SA ROSE feat. STEVEN BROWN

TITLE: STURM

CATALOGUE NO.: MM02

LABEL: MATERIALI MUSICALI

Distribution by E.N.D.E. - AUDIOGLOBE - total time 65' 13''

STURM STORYdoc file 55K

booklet text doc file 50K

Ouverture

Je voudrais être le tonnerre

Caresses aux cœurs  mp3 available - 5 MB - 5 ' - stereo

INTREMEZZO #1 (ROMANTIQUE SERA LA MORT...)

Gentiane percluse (stopped at bar 8)

Gentiane percluse (Restarted)

Das Unheimliche

INTERMEZZO #2

Some Guys  mp3 available - 5 MB - 5 ' - stereo

Vlak k smrti

INTERMEZZO #3 (EINE ATEMBEKLEMMUNG DRÜCKT AUF MICH...)

Der beklemmende Atemzug, der mich im Traum plötzlich ubergefallen hat

Verganglichkeit

Floculation hypnogène

INTERMEZZO #4 (SPIRALES COSMIQUES...)

Spirales cosmiques

Sturm is a young man with an ancestral romantic and tempestuous personality, born in Austria from a family of Slovene origin at the end of XIX. century. He lives during the birth of the cultural movements and transformations of the beginning of the 20th century, feeling his own spirit very fascinated by every artistic newness coming from the whole Europe (symbolism and the impressionist style from France - the country of his cultural formation -, the new Vienna music school and expressionism from Germany and Austria,...). He is somehow a symbol of the cultural Middle-European ferment in the years of the Austrian empire, developed in this sense of protection and stability felt by Viennese cultivated people in the period even called Felix Austria, that's before the Great War. Sturm has been reading some authors like Schnitzler and Hofmannsthal, with such a deep passion that he could quite live their theatrical dramas in his inner life, as a sort of a self-detection proceeding for an innovative and emotionally well-defined way of living. His name is connected to the famous avant-garde art journal Der Sturm, founded in Berlin in 1910, and for which Oskar Kokoschka made a fantastic self-portrait cover: he painted his face as a skinhead prisoner serving a life sentence, running a finger into a wound on his chest, with very black-ringed eyes as full of scars and a grotesque mouth expression as to represent the protest against the social world of the “successful grown men”. Of course, this suggests a hard complaint to the Austrian society of that period, that Kokoschka considered as a sham world, hidden behind masks of appearance: therefore, the character Sturm, as already Kokoschka in his self-portrait, shows himself as the prophet and the martyr who expiates the guilt of a dull society, unable to see his sensitiveness, and only attended to a “plastic” material self-fulfilment, exactly - in quite an unforced parallel! - as our modern third-millennium society is. The starting scene introduces S. in a special moment of his life, as he has finally become conscious of his unavoidable parting from the hypocrite world that has been often emarginated him. This is possible through his inner search for a special link of complicity with Art, in the attempt to express himself in a “true” manner; this situation leads S. to find out Love for Lybra, a female character who looks at once very insecure and full of psychological complexes, even if exquisitely sensitive at all, but who can hardly appreciate the true feeling she's moved by. That's why, in spite of their strongly emotional fervour, their love is destined to an early failure, in such a strange sequence of events, so that S. feels suddenly homeless and lost, quite defenceless (and he feels a sense of Unheimliches, term used by Freud in his studies about personality), and then he's definitively abandoned by Lybra. Many paranoiac nightmares now overwhelm him, so that he almost loses control and takes the risk to get out of his mind in a dangerous extreme way. However, in a paradoxical situation indeed, the sleep - with his dream experience - becomes his natural shelter, often achieved artificially, by self-stimulation and by some hypnosis practices: in this state S. can solve the duality between dream and reality, now getting conscious of their coherent linking, either connected to Freud's theories of dream interpretations or to Antonin Artaud's surrealist writings about this altered state of conscience in which the man can get into a special touch with death, getting even to “live” it every night. The final scene leads S. to an abstract dimension in which our protagonist will be able to get beyond the barriers between life on this earth and eternal Life: an angel comes and leads him into cosmic spirals, the way to reach the universal Energy. The last track of this work symbolizes the final synthesis of Life and Death, just like the contemporary Austrian painter and architect Hundertwasser (1928-2000) had been representing in his works by means of his spirals; even some numerological meanings are linked to 5 (the Sturm - and Lybra - letters) and 12 (the number of the episodes of this work), so this ending connects past, present and future together in an eternal structure wandering in the space-time continuum.

(ENDE) CD MM02 -  Euro 15  -  U.S. Dollar 16 

including postal fee payable on account - pagamento in contrassegno - spese postali incluse  

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