1. |
01. Preludium
06:13
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[illegible text]
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2. |
02. Interludium I
04:52
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3. |
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[ Ina libbišu labirinti aššiāti zīmarisum – ]
Ezḫi[šu]šu [*]ṣḫuni[š], ḫušša [*t]tiš, am[m]a la ištanna[š]ma.
Kānunuša ina[š]u lūhamma, alāšu ūta[šš*].
Zīma pā[tis]šu? Alāišta hunnašma –
Ina libbišu labir[i]nt[i] utarramma šašānātimu aš[šiātišu].
Ammāti[*]ma laša ištannašu hu?
Amma luḫmaništi imašu lū[h]amma
Ammātišišima ti šānūtiši ina[*] dēḫi
U dādutišula [ina*] warkišu.
Ina libbišu labirinti ezbišu zīmarisum –
Utarrma, amma la išta[*]našu.
Zīmarisum, [*]ša ištanna ḫuppanū[**]
Aššūtiš[*] šumē dēḫ[*]
U kīššu[*]šu am[mā]tišu la inašu[*].
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4. |
04. Interludium II
06:00
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As modern musicians attempt to resurrect the lost sounds of history, their efforts combine scientific rigor with artistic intuition. The challenge is deciphering the enigmatic symbols engraved on weathered plaques and allowing the imagination to fill in the gaps in historical knowledge. In this complex dance between science and creativity, a thousand-year-old symphony is reborn, revealing melodies and rhythms forgotten by time. But the nature of interpretation reminds us that our modern ears, tuned to contemporary harmonies, are not a perfect match for the nuances of antiquity.
As the echoes of distant centuries reverberate, music invites us to navigate through a labyrinth of imagination, a sonic tapestry woven from the scraps of history's threads. But the act of interpretation is a paradoxical endeavor because the sounds as they appear to you are not only different from those that are really present, but they sometimes behave so strangely as to seem quite impossible.
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5. |
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The wind has gone silent
I look out the window
The sound is beyond sound
I put down my pencil and listen
I turn my hands into ears
Hearing - fills the hearing
I hear the breath of the grasses
The sounding whisper of the leaves
The wind - still silent
Listening with the ear can never match
Listening with the mind
Sound goes beyond sound
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6. |
06. Interludium III
01:57
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In the heart of the labyrinth I found a song -
I take it in my hands, though I know I shouldn't.
Some of the marks are illegible, but it looks complete.
So what? If I can't read them -.
In the heart of the labyrinth I lost this oldest of all songs.
Or maybe it was meant to be this way?
Maybe the words from the beginning were supposed to be without letters
And notes without sounds?
In the heart of the labyrinth I sing the song -
Found, but unreadable.
A song that hides under the signs
Different every time.
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7. |
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Lipali aforo lotu omi
Lo afati lala litu sumi gati.
Sumiomo yomi lusina.
Inamo lamu loma.
Isu yu.
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Przemysław Scheller Poland
Przemysław Scheller is exploring the nature of sound, developing various dimensions of time and space, searching for the
bond between past and present.
In this journey he is greatly inspired by Gregorian chants, early polyphony as well as spectralism.
One of his passions is to collect and play on ethnic instruments.
... more
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