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| 01 |
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Lands End |
05:03 |
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| 02 |
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Louganis |
16:00 |
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| 03 |
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Tomboy Suite: The Twisted Ones |
00:47 |
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| 04 |
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Tomboy Suite: The Well of Loneliness |
01:12 |
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| 05 |
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Tomboy Suite: The Ladder |
01:04 |
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| 06 |
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Tomboy Suite: The Killing of Sister George |
01:14 |
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| 07 |
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Tomboy Suite: Cunt Coloring Book |
00:53 |
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| 08 |
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Tomboy Suite: Odd Girl Out |
00:59 |
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| 09 |
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Tomboy Suite: The Bachelor Girl |
01:21 |
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| 10 |
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Tomboy Suite: Wasteland |
01:04 |
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| 11 |
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Wordsworth's Daffodils |
11:52 |
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| 12 |
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Inkless Imagination III |
09:39 |
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| 13 |
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In His Raging |
08:54 |
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| 14 |
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Green Sea: Lento, luminoso |
02:00 |
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| 15 |
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Green Sea: Capriccioso |
00:38 |
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| 16 |
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Green Sea: Carezzevole |
02:29 |
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| 17 |
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Green Sea: Petroso |
02:00 |
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| 18 |
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Green Sea: Aereo |
00:50 |
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| 19 |
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Green sea: Vivace assai |
01:39 |
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| 20 |
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Green Sea: In pace |
06:44 |
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| Editor’s Note |
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| The imaginary of finis terrae is an archetype found in many cultures. It evokes a poetic triad of liminal spaces, oscillating between the realms of physics and metaphysics, alchemy and anarchy. This is the place where the immanent structure of the world, the physis of the landscape, encounters the vastness of the sea. This encounter evokes something beyond our comprehension. It is the place where the hidden comes to light and where the fixed and stable is transformed into fluid and immense, echoing the alchemist's goal of uniting opposites – matter and spirit, finite and infinite – into a higher, harmonious whole. And at the edge, the order of things is lost and carried by the melodies of Lands End, revealing a new anarchy. |
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| About the album |
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A rugged, windy trail winds through redwood groves and over foreboding cliffs. Occasionally you’ll find small shelters (dens?) made of Pacific madrone branches, so polished they gleam like bones in the sun. But in a climactic moment, the land suddenly ends, and then... only the sea: a vast green horizon full of imponderable possibilities. Along the way you can experience the incandescence of a green rock, reflect on the failures and successes of falling heroes, the evolution of mores, the reality of psychedelic flashbacks, the ’Resistenza’, King Herod’s rage, and finally, how grounding it is to build structures and then watch them gently collapse. Masterfully interpreted by Claudio Sanna, this album is dedicated to the optimism of the aforementioned walk: its unmistakable energy. A sense of frontier pervades these pages, many of which were created on the Pacific.
Lands End was composed at the Caldwell-Blaney residence in San Francisco and is dedicated to Ugo Rondinone; Wordsworth’s Daffodils was commissioned by New Keys; Inkless Imagination no. III, for Fedele Azari, was written as part of the Djerassi Resident Artists Programe; In His Raging was written at Les Ateliers du Quai during a residency offered by the Direction des Affaires Culturelles de la Principauté de Monaco. Finally, Green Sea was commissioned by and dedicated to Sarah Cahill for Terry Riley's 80th birthday. It was composed at the Civitella Ranieri Art Residency. |
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| Claudio Sanna |
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Claudio Sanna has collaborated with the first sections of the Berlin Philharmonic Orchestra, the Vienna Symphony Orchestra, the Teatro alla Scala, the Arena di Verona, the Orchestra del Teatro Olimpico di Vicenza and has performed in prestigious venues such as the Vatican Museums, the Teatro Bibiena in Mantua, the Sala Verdi of the Conservatorio A. Boito in Parma, Teatro Comunale L. Pavarotti in Modena, Teatro della Tosse in Genoa, Sala Vivaldi of the National Library of Turin, Filarmonica di Rovereto, Teatro Comunale di Sassari, Municipal Auditorium of Cagliari, Pinuccio Sciola's Sound Garden in San Sperate, Ehrbarsaal and Odeon Teater in Vienna, Teatro Dal Verme in Milan.
He collaborates with ADM Soundscape from Modena, a chamber ensemble specializing in 20th century repertoire, with which he has performed in prestigious concert halls and theaters, tackling some of the most complex contemporary works, as well as several pieces written specifically for this ensemble. In 2022, the monumental double CD project Contemporary Sardinian Composers was released, a snapshot of contemporary Sardinian music. He completed his studies in Sassari and then refined his skills with Andrea Lucchesini, Pietro De Maria, Enrico Stellini and Lazar Berman. He also obtained a Diploma of Advanced Studies in Chamber Music with highest distinction at the Accademia Nazionale di Santa Cecilia in the class of Carlo Fabiano. |
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| Luciano Chessa |
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| Luciano Chessa is an interdisciplinary artist working in the fields of media art, audiovisual performance, music and history. He is known for major installations such as "A Heavenly Act" and "Piombo" and frequently collaborates with other esteemed artists and institutions. In particular, Chessa has received numerous awards and has participated in high-profile exhibitions and festivals around the world. His significant contributions to the arts also include scholarly research on 20th-century Italian art, particularly Luigi Russolo and the Futurist movement, underscoring his multifaceted role in both the creative and academic spheres. In 2009, his Orchestra of Futurist Noise Intoners (OFNI) was hailed by Roberta Smith in the New York Times as one of the best art events of the year; Chessa has presented this project throughout the U.S. and internationally at sold-out venues including Rockefeller Center in New York, RedCat in Los Angeles, New World Center in Miami, Radial System / Maerzmusik-Berliner Festspiele, ArtScience Museum in Singapore, and Lisbon's Municipal Theater. He has collaborated on this project with Joan La Barbara, Mike Patton, Lee Ranaldo, Ellen Fullman, Blixa Bargeld, Pauline Oliveros, and others. Between September 2023 and October 2024, Chessa was artist in residence at the Direction des Affairs Culturelles in Monaco to create "Monaco Mobile", a new installation for artmonte-carlo (July 2024) and "Monaco Veloce", a new performance produced by the Théâtre Princesse Grace in collaboration with the Automobile Club de Monaco, the Pavillion Bosio and the Médiathèque de Monaco (September 2024). In Il Corriere della Sera, Francesca Pini praised "Monaco Mobile" as an "installation that acts as a kind of mantra", with its "intricate design of vibrating cables and iridescent lights". |
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