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[illegible text]
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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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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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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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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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Lipali aforo lotu omi Lo afati lala litu sumi gati. Sumiomo yomi lusina. Inamo lamu loma. Isu yu.

about

In Broadcast: The Lost Song, I take up the subject of recreating a song written on a clay tablet from Urkesh dating back to the 15th century BC.

Artifacts of this type come from the Mesopotamian circle civilization, geographically located in what is now Syria, and are written in cuneiform script; the most famous is the tablet containing the Hymn to Nikkal - the first complete record of a musical piece. There are about five completely different versions of the reconstructed Hymn.

This astonishing situation is due to the overwhelming number of unknowns associated with the huric tablets. Among the most important is the language itself - the Hurrian is a dead isolate, unrelated to other known languages, and it is written on the tablets in an alphabet from Mesopotamia (so it is itself already a trans-lettering of the original). The musical notation is also puzzling; reading it is based solely on circumstantial evidence.

The foundation of my Audition is the vastness of the unknown, the starting point - the question mark, and the inspiration - the void. I invite you to listen to my story....

credits

released January 1, 2024

The Ernst von Siemens Foundation sponsored the commission of the composition by Przemyslaw Scheller

Concert and premiere performance of Przemysław Scheller's Audition sponsored by the Pro Muzyka Nowa Foundation

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about

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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