{"id":3074,"date":"2012-07-03T14:09:15","date_gmt":"2012-07-03T14:09:15","guid":{"rendered":"https:\/\/robertoolzer.com\/official\/?post_type=project&p=3074"},"modified":"2022-07-03T18:28:05","modified_gmt":"2022-07-03T18:28:05","slug":"steppin-out","status":"publish","type":"project","link":"https:\/\/robertoolzer.com\/official\/project\/steppin-out\/","title":{"rendered":"Steppin\u2019 Out"},"content":{"rendered":"

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\u201cSteppin\u2019 Out\u201d<\/h2>\n

Roberto Olzer Trio, Abeat Records, ABJZ 517<\/h4>\n

Roberto Olzer, pianoforte
Yuri Goloubev, contrabbasso
Mauro Beggio, batteria
<\/strong><\/p>\n

Recorded and mixed on June 2012 at Artesuono (Udine), by Stefano Amerio.<\/p>\n

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Die Irren (to R. M. Rilke) (Roberto Olzer)
Pat\u2019s World (Yuri Goloubev)
Filosofo (Elisa Marangon)
Gloomy Sunday (Rezso Seress)
Every little thing she does is magic (Sting)
Clay (Roberto Olzer)
Romanza (Francois Poulenc)
FF (Fast Forward) (Roberto Olzer)
Sad Simplicity (Yuri Goloubev)
The Edge (Roberto Olzer)<\/p>\n

 <\/p>\n

BONUS TRACK
Amore Baciami (C. A. Rossi)<\/p>\n

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Presentazione \u2018Steppin\u2019 Out\u2019<\/h4>\n

\u2018Our interest\u2019s on the dangerous edge of things\u2019: questa frase, di Graham Greene, mi si affacci\u00f2 alla mente la prima volta che suonai con Yuri e Mauro, nel 2008, ed esprime il senso di vertigine che allora provai, il gusto per un fare musica che non si adagiava in sentieri gi\u00e0 battuti ed esausti ma si emozionava nel cercare un suono comune, ed un\u2019intenzione profonda.<\/p>\n

Sono a volte sorpreso dal fatto che suggestioni letterarie si leghino ad incontri ed esperienze musicali. Cos\u00ec per le numerose reminiscenze delle poesie di Rilke che hanno affollato i miei pensieri in questi mesi, nella preparazione della registrazione. A lui va una dedica sommessa di questo lavoro. In particolare la lirica \u2018Die Irren\u2019, i folli, che racconta di quel momento notturno in cui nei loro sguardi muti, affacciati alle finestre delle loro prigioni, tutto ritrova a un tratto il giusto senso, ed il giardino tante volte sfigurato si acquieta e continua a crescere nel riverbero di mondi ignoti.<\/p>\n

Ecco, penso alla musica, e a questa musica, come a qualcosa che porta senso ed armonia nella mia esistenza, e che ben lungi dall\u2019essere un inutile ornamento, \u00e8 compiuto, quasi non fosse lontano il tempo di sorridere e di volare.<\/p>\n

Roberto Olzer<\/p>\n

 <\/p>\n

\u2018Steppin\u2019 Out\u2019 presentation (English)<\/h4>\n

\u2018Our Interest\u2019s on the dangerous edge of things\u2019: this phrase of the British novelist Graham Green came to mind the first time I played with Yuri and Mauro in 2008. It expresses that sense of vertigo which comes from making music without clinging to old, outworn paths but instead, reaching out to find a common, profoundly meaningful sound.<\/p>\n

Sometimes, I am surprised, how well literary allusions are applicable to musical encounters and experiences.\u00a0 The same applies to the numerous remembrances of the poetry of Rilke which filled my thoughts these past months, as I prepared for this recording. There is a humble dedication to him in this work. In particular, the lyric, \u2018Die Irren\u2019 – the Madmen\u00a0 –\u00a0 recounts those nocturnal moments when their still faces appear at the windows of their prison and everything is in balance for a time: The garden, often distorted, is now soothed and grows to the pulsations of unknown worlds.<\/p>\n

In other words: I think of music, this music, as something which brings a sense of meaning and harmony to my life. Far from being a useless ornament, it is an accomplishment\u2013 heralding the season of laughter and taking flight.<\/p>\n

 <\/p>\n

Pr\u00e4sentation \u2018Steppin\u2019 Out\u2019 (Deutsch)<\/h4>\n

\u2018Our interest`s on the dangerous edge of things`: An diesen Satz des englischen Schriftstellers Graham Green erinnerte ich mich, als ich 2008 zum ersten Mal mit Yuri und Mauro spielte.\u00a0 Bei der Musik, die wir machten, wurde es mir schwindelig, denn wir befanden uns nicht auf\u00a0 bekannten, ausgetretenen Pfaden. Wir waren aufgew\u00fchlt, denn wir suchten nach einem gemeinsamen, tief verbindenden\u00a0 Sound.<\/p>\n

Manchmal, und dar\u00fcber bin ich erstaunt, k\u00f6nnen literarische Empfindungen mit Musik verkn\u00fcpft werden. Das gilt zum Beispiel f\u00fcr die zahlreichen Poesien von Rilke. Erinnerungen an sein Werk waren bei der Vorbereitung\u00a0 zu dieser CD ganz nah.\u00a0 Zum Beispiel das Gedicht \u201eDie Irren\u201c, das von den n\u00e4chtlichen Momenten erz\u00e4hlt, wenn sie mit stummen Blicken an die Fenster ihrer Gef\u00e4ngnisse treten und\u00a0 pl\u00f6tzlich ist es alles gut.<\/p>\n

Ich denke an Musik, an diese Musik als etwas, das meinem Leben Ausdruck und Harmonie gibt und alles andere als ein \u00fcberfl\u00fcssiges Ornament ist:\u00a0 und doch so sch\u00f6n ,als sei es nicht mehr zu fr\u00fch , zu l\u00e4cheln und zu schweben.<\/p>\n

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\u201cSteppin\u2019 Out\u201d Roberto Olzer Trio, Abeat Records, ABJZ 517 Roberto Olzer, pianoforteYuri Goloubev, contrabbassoMauro Beggio, batteria Recorded and mixed on June 2012 at Artesuono (Udine), by Stefano Amerio.Die Irren (to R. M. Rilke) (Roberto Olzer)Pat\u2019s World (Yuri Goloubev)Filosofo (Elisa Marangon)Gloomy Sunday (Rezso Seress)Every little thing she does is magic (Sting)Clay (Roberto Olzer)Romanza (Francois Poulenc)FF (Fast […]<\/p>\n","protected":false},"author":1,"featured_media":2966,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"project_category":[],"project_tag":[],"class_list":["post-3074","project","type-project","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/project\/3074"}],"collection":[{"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/comments?post=3074"}],"version-history":[{"count":4,"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/project\/3074\/revisions"}],"predecessor-version":[{"id":3156,"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/project\/3074\/revisions\/3156"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/media\/2966"}],"wp:attachment":[{"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/media?parent=3074"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/project_category?post=3074"},{"taxonomy":"project_tag","embeddable":true,"href":"https:\/\/robertoolzer.com\/official\/wp-json\/wp\/v2\/project_tag?post=3074"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}