http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
As if to illustrate the concert given by the Polish keyboardist Hania Rani allegorically, the final credits of the program close with images of an escalator whose steps continue moving hypnotically in the silence. It is true that the artist invites us on a kind of introspective trip, like a long calm river with some dark moments but where an insistent and iterative music permeates melancholic, simple, and almost childish melodies. In the music's watermark, we can hear references drawn from Chopin but also from Philip Glass or from the Icelandic artist Jóhann Jóhannsson, and even from Agnes Obel. An almost pantheistic music is imposed, inspired by Nordic rather than Mediterranean nature; where beauty is born from the contrast between the warmth of acoustics and the coldness of electronics. Born in 1990, Hania Rani, whose real name is Hanna Raniszewska, has already won several prizes in her native country both as a performer and as a composer in the world of neo-classical music. In a beautiful hall of the Faculty of Sciences at La Sorbonne, close to the public, surrounded by keyboards (grand piano, upright piano, electronic instruments,) she delivers subtle music, with rhythmic jumps and variations on the sounds and their pitch. Hania Rani also occasionally mixes electronic sounds with her folk-like vocalizations (with echo chamber). Sheets of sound envelop us while mesmerizing clicks question us. This is atmospheric music conducive to daydreaming about time and space which is by no means sentimental. Philippe Lesage.
réalisation, Nathan Benisty = TV-Regie, Nathan Benisty ; une production, Sourdoreille Production.
Title from title screen (viewed December 12, 2022).
Hania Rani, pianos, synthesizers, vocals.