He shook his head and stepped back as Bo, carefully judging the basket’s angle of approach, piloted his hamper into the space next to Adan’s.Īdan heard the raspy growl of someone clearing their throat behind him. Add in the fact that Bo was taller and more muscular than Adan, and it was clear which of them was the pretty one. His golden-brown skin never looked pale or dull. His chunky black hair had a spring to it that refused to let it lay down no matter how much he sweated. Even after a long day in the laundry, Bo somehow still managed to look good. As Adan shoved his cart into the nearest open space, he heard the unmistakable sound of his best friendĪdan looked back to see Bo charging along behind his runaway cart with an almost feral grin. Only one or two had to angrily jump out of the way to keep from being rolled over. So Adan hustled the heavy cart along as fast as he could safely manage, cutting a path through the other workers as they left their own hampers behind. Working the laundry plant was the best he would get compared to his few other options. He was only sixteen and unqualified for anything beyond manual labor. He couldn’t even go to the Labor Bureau and request a different work assignment. If anything, that seemed to make Ulla even crankier. Nothing seemed to bring his foreperson any joy, not even the end of the shift. Adan had never worked for someone as unpleasant as him before. Thankfully, Ulla didn’t stick around to see his order carried out. He sighed and grabbed the edges of the hamper. Startled, Adan turned to see Ulla, his shift foreperson, looming over him like a storm cloud. “Get that cart over to the docks, Testa!” And he was definitely still too skinny, even after a season of hauling around heavy bundles of linen. The whites of his dark brown eyes were more red than pale. His normally warm, olive-brown skin looked ashy and dull. His shaggy, black hair was matted down to his skull with sweat. Then he caught a glimpse of his reflection in the window of a nearby washer. More often than not, that last hour was always the toughest part of his shift.Īdan reached up to wipe the sweat from his forehead. For the past hour, he’d hungered to be back outside, drinking in the cool, damp air. And the foul-smelling fumes from the cleaning fluids had given him a pounding headache. His back hurt so much that his already heavy canvas apron felt like it was made of lead. He’d just finished folding and stacking the last of the thin, starched bed sheets into the rolling hamper. That annoying sound couldn’t have come soon enough for Adan. The release of "Mercy" on the Berlin Neue Meister label lays the foundation for an international concert tour in the late summer and fall of 2018.The steam whistle finally blew out its shrill screech, marking the end of another long, boring laundry shift. "We took a risk, because Urna has a totally different approach to classical music and in any case she does not work with musical notation." The result is a track that is Iskandar Widjaja all over: wandering between worlds, never without a homeland, being at home everywhere. Bach's plea for mercy " Erbarme Dich"), in which the vocal part was taken by Mongolian singer Urna Chahar-Tugchi, who grew up in a shepherd family in the grasslands of Ordos. The greatest challenge proved to be the piece " Eneril" (inspired by J.S. Long-time friends and associates – like the Italian electronic music artist Giordano Franchetti, who created a sound synthesis with NASA "space sounds", or pianist Friedrich Wengler, whom Widjaja has known since his schooldays – accompany him on his new album. I thought about what I would like to hear on disc myself, taking into account the reaction of my audience." This makes it a highly personal choice, contrasting the mathematical, technical side of the pieces with a nuanced rhythm sensed on stage. "This project gave me the chance to give my imagination free rein and translate earlier experiments on the concert platform into the environment of the recording studio. A quiet, almost meditative work for piano and violin, it is framed by congenial segments with works by Arvo Pärt and Johann Sebastian Bach. The British composer Max Richter, whose habitual field of operations is the electronic, ambient and film score scene, contributes the title track " Mercy". "Mercy" begins with an improvisation on the composition "River Flows In You" by the South Korean pianist Yiruma.
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