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Cipa - Correlations (on 11 pianos) (Vinyl LP) | Warner 9029526755

Cipa - Correlations (on 11 pianos) (Vinyl LP)

£46.37

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Label: Warner

Cat No: 9029526755

Barcode: 0190295267551

Format: LP

Number of Discs: 1

Genre: Instrumental

Release Date: 11th September 2020

Contents

Artists

Carlos Cipa (piano)

Works

Cipa, Carlos

Correlations

Artists

Carlos Cipa (piano)

About

*** 12” Vinyl LP ***

“I find it fascinating how each piano is different from the next,” says the 30-year-old Munich-based composer. “Some instruments really open up your creativity. To play on a lot of different ones is the best way to come up with new ideas.” It’s this fascination which drives Correlations. Having begun playing at an early age, Carlos Cipa launched his recording career in 2012. Since then he has expanded his artistic range, collecting instruments and building his own studio, culminating in 2019’s Retronyms, an album he describes as “dedicated to the idea of creating my own sound world”. With this new release, however, he has decided to return, in a sense, to his roots. “I wanted to simplify the process,” he says, “by focusing again on the piano, but spreading the concept.”

For this album, Carlos Cipa carefully selected six grand pianos, three uprights, a square piano and a Rhodes.

Tracklisting:
1. Promenade I (on Blüthner Grand, 1935)
2. Dreamlessly (on Blüthner Grand, 1935)
3. Sable sonatina I (on Bechstein Grand, 1898)
4. Fantasia on Bach (on Steinway Grand, 1975)
5. Promenade II (on Collard and Collard Square, 1840)
6. Sitting at a dead piano, trying to find some notes that work
7. I wanted you to know (on Yamaha Upright, 1981)
8. We tell ourselves stories in order to listen (on Yamaha Upright, 1981)
9. Promenade III (on Yamaha Upright, 1981)
10. Untitled (on Fender Rhodes, 1976)
11. Surges (on Broadwood Grand, 1875)
12. Playful (on Pleyel Grand, 1834)
13. Sable sonatina II (on Bechstein Grand, 1898)
14. Stairwell, 1130 p.m. (on Zierold Grand, 1900)
15. Promenade IV (on Pleyel Grand, 1834)
16. Forgotten in the attic (on Ritter Upright, 1920)

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