Terraforma Exo marks its final intervention in Palermo, where the 8-hectare park of Villa Tasca will turn into a vibrant stage for concerts and cultural activities. Nestled along the road from Palermo to Monreale, Villa Tasca is surrounded by citrus groves and centuries-old trees, offering a lush sanctuary steeped in history. While the villa itself dates back to the 16th century, its surrounding oasis is a masterpiece of 19th-century Sicilian Romanticism. The sinuous shapes of the flowerbeds bordered with stone and the luxuriant vegetation of subtropical origin mean that once inside, one has the sensation of being immersed in a world full of quietness and charm. Villa Tasca promises to be the perfect space to explore the shades of sound in whatever manifestation.
MORITZ VON OSWALD PRESENTS: SILENCIO
Moritz von Oswald is a German multi-instrumentalist who went on to become one of the most influential record producers of dub techno in the 1990s.
On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and dark & dissonant.
RROSE plays JAMES TENNEY’S ‘NEVER WRITTEN A NOTE FOR PERCUSSION’
A singular moment of sonic meditation unfolds as Rrose performs James Tenney’s iconic minimalist work, Having Never Written A Note For Percussion— a piece as monumental in its simplicity as it is profound in its emotional resonance. Originally composed in 1971, Tenney’s score consists of a single, sustained crescendo and decrescendo on a solo gong, extending over an indeterminate duration. It is a meditation on tone, time, and the physical presence of sound — an experience that invites listeners to surrender to vibration and resonance. Rrose, known for their boundary-defying approach to techno and experimental music, has brought this work to new audiences with an intensity and sensitivity that bridges the gap between the avant-garde and the visceral. In their hands, Tenney’s score becomes a ritual of attention and transformation — the slow swell of sound revealing the microcosmic shifts within a single tone. This performance is not just a concert, but an invitation: to listen differently, to enter into stillness, to encounter sound as a living, breathing force.