Agape is an album that moves freely between electronic music, ambient soundscapes, classical composition, and jazz, refusing any fixed genre boundaries and unfolding within a single, continuous creative arc that rises beyond technical classifications. The Agape project was born with a clear mission: to rearrange—or, in this case, to remix—works originally written for solo guitar. Over time, the project evolved, giving shape to a collection of original pieces in which traditional classical composition encounters avant-garde electronics.
More than a music album, Agape is an immersive sonic landscape. Each track opens onto its own world of colors and textures. At its core lies the image of the sea as a land of migration: a place of encounters between countless cultures, shadowed by the ever-present reality of death at sea. Life and rebirth emerge as the central themes of the work.
All guitar parts throughout the album are performed by Maestro Daniele Sardone, who also contributes several original compositions. The cover artwork features four original paintings by the artist Martina Franciosa.
Ascesi is the second solo album by guitarist and composer Antonio Lambresa, a work that celebrates technical research on the classical guitar through an interplay of dance-like rhythms, contemporary influences, and the great compositional tradition. Following the electronic project Agape, this album marks the first time the composer steps forward as the performer of his own music.
The record consists of seven tracks, including two free improvisations, conceived within the intimate atmosphere of the Petrangolini Chapel in Rimini. These pieces are steeped in introspection, seeking a personal sonic dimension and turning inward as an act of quiet resistance within a superficial world. Shalom evokes peace through a frenetic dance, shaped by a minimalist aesthetic that strives to reconcile opposites and confront the dualism of war and peace.
The album closes with the Sardonic Variations, originally born as a playful response to a theme by Maestro Daniele Sardone and later transformed into a research tool an exploration of that sardonic, slightly irreverent grin with which the music was first conceived, subtly mocking the hyper-celebratory tendencies of contemporary guitar culture. Free from classical schemata, the work seeks an open technique, neither limiting nor limited, embracing any poetic device that may serve expression.
The music was performed on two guitars: a García model by luthier Umberto Cevoli and a Torres model by Francesco De Gregorio, both strung with gut and silk–silver strings.
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