The time scale of the work is large, leaning more towards the time scale of a whale song than that of a classical symphony. This music requires patience and an attention span well beyond that conditioned into us by our social media apps so popular in our mobile phones. Almost a sound movie, best listened to in stereo and in a quiet environment, preferably your own living room. A few decades ago our living rooms had stereo systems at their core, giving more meaning to the time spent listening to music, putting a work into a personal context. In the 21st century music listening has developed into something which is done while on the road, walking, moving, running, travelling. Most music is listened to on headphones or earplugs, turning it into a solitary experience, quite the opposite of a traditional concert setting, and also of a concentrated listening session at home.

This collaborative Oneirology touches on deep emotions; the lyrical long lines of the bandoneon lead the listener through landscapes of sometimes ambiguous feelings. After hearing the final mix, Vervelde observed that in fact, although the work as a whole does leave a strong and clear impression, the precise meaning left behind seems to change at the next listening. Did hearing change the listener, or the music itself, or both perhaps?

There is a fluid quality to this music, now with long lyrical melodies, sometimes in a canonic counterpoint, filled with a longing feeling, then again with rhythmical accents, as if impatient, and then again with long chromatic harmonic progressions in more pensive and ambiguous moods.

After having recorded all the 40+ tracks in Italy, Falconi sent these to van Dillen in Rotterdam to composite and compose the final blend of both composer’s work by creating the mix and final master. His creative mixing went through several stages before a satisfying result was approached, which was refined in his mastering process afterwards. With great care this very complex music had to be mixed, composited, composed and mastered, so as allowing for the complexity to come out while maintaining transparency and optimal spatial placement and width of every sound as well as the overall sound. After sharing the result, this time sending from Rotterdam to Rome, both composers finally agreed on the end result after what had amounted to over a year of intense collaborative work.

Oneirology 2 In Peter Brook’s 1979 film Meetings with Remarkable Men there is a scene in which musicians will attempt to produce a sound that will make the stones of a valley vibrate. In this re-enacting of a famous scene from Gurdieff’s memoires, Kudsi Erguner is one of the …
read the full text…

Dronescape 5 is the fifth in a series of albums, containing new, digitally created, compositions by Oscar van Dillen. The work on this album was composed November-December 2020. Similar to the other Dronescape releases, this album too can be considered to be an Electronic symphony, the 5th by Oscar …
read the full text…

Dronescape 3 is the third in a series of albums, containing new, digitally created, compositions by Oscar van Dillen. The work on this album was composed August-September 2020. The third Dronescape album by Oscar van Dillen contains a single long composition: Infinity goes back to the composers’ childhood inner …
read the full text…

Dronescape 1 is the first in a series of albums, containing new, digitally created, compositions by Oscar van Dillen. The works on this album were composed June-July 2020. The title Dronescape suggests the contraction of the terms Drone and Soundscape, inferring a music which might at first sight be …
read the full text…