FLORIAN

For those who do not know the music of Le ORME you are missing out for sure. In my opinion this is one of the greatest true essays in sound surrounded by the lush music of Le ORME. During the early 80's Le ORME changed their approach to music and began to explore as they did on "Florian" some non-traditional instruments and song arrangements. I have heard this album put down for far too long and can not accept the thoughts/opinions of many of my prog peers out there in prog land. This album is great with the lights down low and the ol headphones on. "Florian" is full of grandeur and very much progressive influences. In many ways this is my favorite Le ORME record and always seems to have a magnetism for my ears. This is another essential recording... so place your orders today!

Well this album is absolutely underrated and often unknown as well. It deserves another half star at least,as it's an unplugged tasteful album with a Medieval mood, but also with symphonic breaks through, absolutely inspiring. Besides this is another hidden gem, which seems perfect to be performed in a theater (along with "Contrappunti")... even though for instance another fine album such as "Contrappunti", unlike this "Florian", is closer to some albums by ELP and completely different in comparison to it. But anyway both albums represent something strange and not complying with their standard, except on the commercial (a few ones) pop songs of that èpoque, above all within the present "Florian", but it never minds.In fact for example another underrated work, "Di Terra" by "BANCO DEL MUTUO SOCCORSO", was totally out of contest,especially by regarding of their usual mood...it was an imprinting by Di Giacomo & company, and some critics considered this issue as a failed attempt to innovate their style: actually the real state of things was different and this is the same destiny which coupled BANCO to Le ORME.At the end I'm not surprised about such change of direction!! Recommended!

I always felt something special for Italian prog' not only because they developed a clear symphonic style but also by the addition of something special and unique, their national and artistic identity.

Le Orme is a band that can change from strong and bombastic ELP or Genesis oriented music to a precious and delicate Renaissance or Classical sound, as if we were not before a rock band but in front of a small Orchestra.

It's a hard album to review because of the variety of instruments they use and for my limitations in Italian, but I'll try to do my best.

"Florian" is a Renaissance and classical oriented album extremely beautiful, maybe a bit boring for those who expect something as complex and powerful as "Felona e Sorona", but not less rewarding for the progressive fan that only wants to listen great music despite the orientation of the band.

The first track "Florian" deserves the masterpiece qualification as no other song before, the soft orchestra delights with their precision, the violin and clavicembalo give the exact atmosphere, followed by piano and small orchestra, is simply perfect.

"Jaffa" is a more Renaissance oriented track where the violin, piano and vocals blend in a perfect way, the Italian phonetic helps very much to achieve the perfect atmosphere.

The violin piccicato with which starts "Il Mago" (The Magician), gives a perfect idea of how this song will develop, more rhythmic than the previous creates an atmosphere of a medieval juggler with his mandolin who he tells the story of a magician that can fight against evil with great powers exceeding the ones that Circe (The Odyssey) had.

"Pietro Il Pescatore" (Peter the Fisherman) has a clear relation to Saint Peter "Quando una nuova alba il gallo annuncerà le chiavi perderai" (When one new dawn the rooster announces the keys you will lose) in clear allusion to his denial and the keys of Heaven, a simpler song for violin, piano and vocals, maybe the weaker of the album not being bad.

"Calipso" is another beautiful song with acoustic guitar and piano, also very simple but not always complex is better, the violin solo is so melancholic that almost brings tears to my eyes. The song is almost an ode to the inspiration represented by Calipso.

"Fine di un Viaggo" (End of a Trip") is a happier song despite the nostalgic title, good mixture of violin, piano, mandolin and vocals, not only about a journey that ends but about a new one that starts.

"El Gran Senser" is the perfect closer, a great instrumental where violin and percussion take the lead role at the start, followed by piano and the rest of the small orchestra grows in strength and power until the middle were is soft but with some suspense as to prepare for the explosive ending.

A real unplugged album recorded long before MTV had the idea of doing something similar but without the great quality and imagination, a must have for any progressive or even classical fan, because both will enjoy it the same.

Florian is the name of an ancient, famous and typical Café of Piazza San Marco in Venice (Le Orme's hometown) where you can usually hear artists perform classical music. This album has been named with the same name of this café and it represents an effort to blend classical music influences (more precisely classical chamber music influences, not symphonic) with progressive rock. The album is played completely with classical instruments and it sounds like a kind of "ante-litteram unplugged". Anyway, I don't think you could define it as folkish, medieval or gothic but just classically-inspired and the reference points could be some works of Vivaldi or Giuliani with progressive contaminations (this is more evident in the two instrumentals, "Florian" and "El gran senser"). The lyrics are inspired by "classical" works too: "Jaffa" has biblical references; "Pietro il pescatore" is inspired by the character of St. Peter, while "Il mago" and "Calipso" contain references to the Odyssey and "Fine di un viaggio" is about the end of a musical journey (Lascia il tuo tamburo e vai in cerca di altri suoni / Le tue ombre inutili nessuno segue più - Give up your drums and go looking for new sounds / Nobody follows your useless shadows anymore). Florian is a very underrated album and I think it deserves more attention by any progressive music lover.

this le orme album its very well compossed and its very mellow. the violin here takes the first place and the sound its very classical. they make a beatiful piece and the passages in some songs are so harmonic and looks like they meant to be love songs. Aldo Tagliapietra was really inspired in this album; they put together all the pieces to make a fine progressive mellow album wich is nice for me. i love le orme's work. someones said that this is more pop, if you hear with care youll find a very stronge influensece of the master of italian progressive rock PFM. in this album sounds like the more suite parts of PFM works. i also remomend this album for anyone who likes celeste or Quella Locanda Vechia. excellent album le orme stlill on the good way.

This was my first introduction to the music of LE ORME, and I liked it much! Here the light classical chamber music meets artistic folk rock, and there are also some hints of the non-chaotic works of ZAPPA included. The first album of UZVA also resembles this album a bit. If I should introduce some progressive rock music to a person who is interested only in classical music, I would start with this. Highly recommended!

"Silent is the sea... it wouldn't give its treasures nevermore. What have you done, my old Peter, during this long winter?"

Florian could seems a Le Orme's unplugged album, but it represents all the efforts of the band toward new musical directions. Florian is the famous and ancient coffee-bar in St. Mark Square, Venice. For those who came there (nearby my home), as tourists, it'll easy to remember, in that unique square and in front of the Basilica and the Bell Tower (fallen down in 1900, then rapidly re-built), an ancient coffee-bar with always classical music played live by a trio or quartet band. So did Le Orme with their 1979 album. It's a homage to that ancient tradition of their town: cello, classic guitar, piano, harpsichord, armonium, vibraphone, marimba, glockenspiel, violin, buzuki, acoustic guitar, mandola and percussions are the ingredients for a more relaxed and intimistic release from one of the most important Italian bands. And so we can hear to such a delicate and delightful soft classical music rich of poetry because of the good lyrics inspired part by New Testament (Peter The Fisherman) part by myth (Calipso and Il Mago with references with Homerus' Odissey).

Le Orme's trade mark is definitively gone. Prog was then in great decline.which was the better way to make music for the mind? Le Orme answered with this interesting piece of art.

By 1979 progressive rock was a kind of music on the wane. While some bands tried to survive turning to pop or even to disco music, Le Orme went against the tide and released an amazing album with a strong classical flavour, "Florian". All the tracks were completely played with classical instruments and this work sounds like a kind of "ante-litteram unplugged" blending classical chamber music and progressive rock forms. The line up here features Aldo Tagliapietra (violoncello, classical guitar and vocals), Antonio Pagliuca (piano harpsichord and harmonium), Michi Dei Rossi (vibraphone, marimba, glockenspiel and percussion) and Germano Serafin (violin, acoustic guitar, bouzouki and mandola). In studio they were helped by their historic producer Gian Piero Reverberi and the result is excellent.

The opener title track is a beautiful long and complex instrumental. Well, Florian is the name of an ancient, famous and typical Café located in the main square of Venice, Piazza San Marco, where you can usually listen to classical music while sipping a drink and this piece tries to evoke a timeless and dreamy atmosphere. Violin, piano, vibraphones and percussion perfectly interact drawing magnificent musical landscapes where lights and shadows chase each other. From Venice in the past the ships of the merchants set off on the routes leading to the Middle East. On this album from Venice we can set off on a musical journey through the Mediterranean Sea as well...

Our next destination is "Jaffa", an ancient port on the coast of Israel. Music is delicate and dreamy while lyrics contain some references to the Holy Bible. "Long time ago Moses struck a rock with his staff / And the coolest water sprung out from nothing / The sun hid itself, bread came down from the sky / And peace came back...". It's just a way to make you reflect on the present... Today they dig a dream on the hot sand and a river of sweat waters new roots while a new paradise comes into view and the desert smells of orange flowers. Well, Israel is one of the main producers of orange fruits and it's a paradox that they have to destroy large amounts of oranges just to keep high the market price while nearby so many people are starving... "In my country the old olive trees are praying / They hold necklaces of black pearls / The golden fruits that the sun gives you like dew are seeding rage, sacrificed in the ditches...".

The lively and sarcastic "Il mago" (The wizard) warns you against false promises and charlatans... "I met a wizard who can cure any ill / He can save you from evil spells and drive envy away / He spies the planets in the sky and manages your future...". According to an old interview with the band the character of the wizard was inspired by the then president of the U.S.A. Jimmy Carter and by his ephemeral recipes for peace, "good like peanuts!". Music has a strong Mediterranean flavour and in the lyrics you can even find some references to the Odyssey... "Pick up the omen Circe, your spells are outdated... Follow the new charm / Peace rules all over the world / What a magic power has a charming smile...". It's a fact that peace in the Middle East is still a very difficult goal but who can tell what kind of surprises the future will reserve to us?

"Pietro il pescatore" (Peter the fisherman) was inspired by the character of St. Peter. Music is quiet and dark... "The sea is silent in the mystery / It doesn't give you its treasures anymore / What have you done my dear old Peter during this long winter? Maybe your nets are corroded by time...". Here the character of St. Peter is a metaphor to describe a difficult moment for the Catholic Church that seemed incapable to understand the needs of the new generations... "Listen to these voices coming from afar / Now they're crossing sacred mountains and large rivers / You stand still on the cliff to contemplate another sunset / While the echo frees new truths in the evening songs...".

"Calipso" (Calypso) is another committed track dedicated to the United States of America. Calipso was a nymph in Greek mythology who lived on the island of Ogygia where she kept Odysseus for many years. According to the band, here Calipso is a metaphor of the U.S.A. keeping Italy in a golden captivity through their politics. But Italy is by now a country which follows the way lighted by the immense statue of Calipso, the statue of Liberty... "Set your beloved hero free / You welcomed and fed him / Now he's very sad / He want his country back / Even if the night was so warm under the starred flag... Set your beloved hero free / He's a friend of your dreams / Now he's awake, you know / He can't wait for the day / Even if the night was so warm under your starred flag...". There is no rage, the music is sweet and melodic. The band express their love for some American ideals and dreams but you can also find in this track the pride for their Italian roots leading to the quest for a new freedom...

"Fine di un viaggio" (End of a journey) is a fine track about the end a musical journey. A delicate classical guitar arpeggio and soaring vocals set the atmosphere... "Here the long journey you made came to an end / Now you have to wake up from your sleep / I leave you to your destiny / I'm not following you anymore / My ship has reversed its course / Stop to dream, my friend...". Well, in 1979 the magic ship of prog could seem just as a wreck, as an useless shadow to forget and it was high time to change musical direction, to drop out the drums and to go out looking for new sounds...

We are now back in Venice for the last track of the album, the long instrumental "El gran senser". In the dialect of Veneice the "senser" is a matchmaker, one who arranges or tries to arrange marriages... In this track the band manage to blend the classical legacy of Antonio Vivaldi with more experimental forms. Just close your eyes and imagine to walk through "calli", "ponti" and "campielli", the streets, the bridges and squares of Venice while breathing the magic of time. When you're tired you can sit in a café in Piazza San Marco and listen to this album again...

On this 1979 release LE ORME play relaxing, acoustic music. Everything is restrained almost like an "unplugged" release. Understand an all-acoustic album is not my favourite style of music, but I can really appreciate the absolute beauty of it. Violin, piano, acoustic guitar and vibraphone are the main instruments used here, while the vocals are gentle and fragile. The closest song to being catchy is "Fine di un Viaggio".

They would get back to more passionate music in the future but I have a hard time with this one. I know those who really like this record but a low 3 stars is the best I can do.

1979: the punk rush had convinced almost everyone that progressive rock sucked, New Wave was already in (let's admit it: with also very good results - would you say that Joy Division, Gary Numan or the Bauhaus were bad?) and Disco Music had already become everybody's nightmare. What could a band like Le Orme do? They simply dropped their electric/electronical instruments and embarked in this acoustic adventure, turning into a small classical combo, but still admitting they were a "pop" band. The results were surely naive (you cannot count how many times the violin gets out of tune), but charming and full of grace and intelligence. "Florian" (the intrumental first track) leads you through the "calli" and small bridges of Venice, with that melancholic and yet light hue that can be regarded as Le Orme's trade mark. Strong classical influences (Vivaldi, for instance) enrich also the following track, "Giaffa", with very interesting lirycs about Israel. The ethnic side of the band is well displayed in "Il Mago" (with an amazing introduction) and the final instrumental "El Gran Senser" (featuring a prepared piano and oriental percussions). "Pietro il pescatore" is mysterious and well balanced, but my favourite tunes are "Calypso" and "Fine di un viaggio". The first one is not a Caribbean dance, but a moving, very intense ballad about an immigrant who wants to go back to his homeland (compared to Ulysses's exile in the island of the nymph Calypso). Charming tunes and minimalism convey very strong feelings which can almost lead you to silent tears. Finally, "Fine di un viaggio" is the story of a drug addicted who turns to his pusher (the "tambourine man") to tell him he will stop. The music is very well arranged, with a beautiful "coda" in the form of a march. A really beautiful album and another masterpiece by Le Orme.

This is a special album in "Le Orme" discography.

Forget their flamboyant style, forget about the lush and bombastic keyboards. What you get here is some classical music, vaguely tinted with progressive elements as well as some folk influences. I am not much into these musical genres. Be it performed by "Le Orme".

There are of course some good songs like "Il Mago" which features again great and subtle vocals from Aldo Tagliapietra. Emotional as always. Still, the musical background music with these cello and Latin American sounds is not what I was expecting from this band after the very good "Storia O Leggenda" album released two years prior to this one.

I am not at all in-line with my fellow reviewers but I can't help. I just don't like this (extremely short) album too much. Some beautiful vocal harmonies are saving this album ("Pietro il Pescatore" and "Fine Di Un Viaggio") but this is not enough to my taste.

The tranquil and closing "El Gran Senser" doesn't speak to me either. Too much classical to my taste. But again, all tastes are in nature. I have to admit that I have never liked the mix between rock and classical music (the exception being the early "ELO" albums) and I am not very enthusiast about such essays.

Two stars.

Not diverse than classic albums. Only a great piece of acoustic music!

In 1979 Prog is not a popular music. But sure for Le Orme this is not a problem. First because Le Orme rediscovered the classic albums ('Uomo Di Pezza', 'Collage'...) and second because these rediscover is produced with acoustic (and not Rock) instruments. The final result is OK but if you aspect a perfect new album... You are outside of the road because 'Florian' (the name is the name of a cafè in San Marco place in Venice, hometown of Le Orme) sounds so Le Orme that I think that the use of acoustic instruments is just an excuse to make people understand what the Prog can still say a lot.

And if Le Orme in 1979 produces a great album is sure a process of a new ideas. So I'm happy when I listen to this masterpiece. But is 'Florian' a masterpiece? Probably no (and the 5 stars are only because 'Florian' sounds as Le Orme classic album) but, in other words yes.

In the way to Reverberi's Rondò Veneziano (a POP band with violins, viole, Rock songs and typical baroque costumes) 'Florian' is the step 1! Only that it is correct to note that it is great to see that 'Florian' is a strange mix between various sources for a music that is not only a music but the essence of Le Orme music. I read in the other PA's reviews that this album have various sources for the music (Bible, drugs...) but the music is simple the same classic Le Orme music... This is essential Le Orme music (is the sound that change... You listen to in attentive mode 'Fine Di Un Viaggio' that is the maximum example of what I say). For this fact is strange to see in this album a great change in reference to Classic Le Orme's albums. It is not justify what I read in too sources when it is supported the decision of a change of style: change the instruments and sounds does not change the musical style.

Also for emotions and feelings... I do not see a great change in my mind. It is true that the first listening, I was off. But the second listen I was taken back to the usual dimension of emotions that every Le Orme's album attorney in me.

Certainly 'Florian' is not an album for Le Orme's newbies. But I think that if you have 'Cololage' or 'Uomo Di Pezza', 'Florian' is another album for you.

LE ORME was clearly becoming a more overtly commercial enterprise as the 1970s wore on, culminating with two excellent albums in that style: "Verita Nascoste" and "Storia del Leggenda", and, with the decade drawing to a close, one might have expected that trend to continue. But the group's first 10 years had been full of surprises, and "Florian" would be one of the biggest and boldest, simply by virtue of its unplugged nature and move to a more classical romanticism.

For the more adventurous prog listener who doesn't insist on a minimal rock quotient, the opening and closing cuts are the most interesting as well as being the longest. Both instrumental, they employ orchestral instrumentation in a partially unstructured manner. However, they lack the emotional impact and concise expressions of the remaining tunes, which fit loosely into an acoustic soft rock vein analogous to the MOODY BLUES or AMAZING BLONDEL, to a point. In particular, "Calipso" is a gem, with a delicate yet robust melody in which the acoustic guitar and piano back Tagliapietra's soft and sensitive vocal. The man even plays a poignant violoncello here, while Germano Serafin takes on the more familiar violin. This combination of lighthearted and baroque warmth permeates "Jaffa" and "Il Mago" as well, while "Fine Di un Viaggio" is closest to singles territory thanks to a more rousing chorus.

If your taste in prog ranges to the classical, lite jazz and/or folk, you will find something to like in "Florian", even if you may not dig the whole 33 minutes. Ultimately, the half star gets added to commemorate Le Orme's bravado in taking on such a project at such an unlikely moment in popular music history.

''Storia o Leggenda'' was a great comeback for Le Orme,but the band had other plans.They limited their live appearances in order to broaden their musical horizons,especially working over classical composition.Tagliapetra left the bass for classical guitar,Serafin left the guitar for the violin and mandolin and De Rossi experimented with marimba,vibraphone and glockenspiel.The next album ''Florian'',named after the most famous cafe in ,Piazza San Marco,Venice,was published in 1979.

Le Orme had always definite classical influences,but this time the whole music on this album is dreamy Classical Music,far from anything they created in the past.This very short album,just over 30 minutes,offers exactly what a symphony can offer.Delicate harmonies,mellow passages and dramatic turns over often light interplays.To listen to the voice of Tagliapietra over this kind of sound is kind of strange.Pagliuca strikes again with his excellent work mainly on piano,but what really shines is the memorable performance of Serafin on violin: Soft,calm but always confident performing.The overall sound is not totally unsimilar to Le Orme's sound,the band had always a romantic and smooth approach on progressive compositions with absence of really bombastic cmoments,but ''Florian'' sometimes ends up to be extremely calm for even the standards of the band.A couple of tracks though remain in the all-time favorite Le Orme list ,like the eponymous relatively complicated opener and the dreamy and harmonic ''Fine di un viaggio''.

The serious critics around the time supported this work,but be warned that this album contains no sign of rock music,just hints of rock attitude due to the relationship of Le Orme and Classical Music.A good album for a relaxing mood,headed to all people who love pure symphonic arrangements.

A major shift and an exceptional, unique work

After eight studio albums in the rock and progressive rock realms, Le Orme made a major shift in style on their ninth album. However, rather than taking the predictable route so many prog bands tried in the late 70s Le Orme instead took a huge gamble. They released an album of classically inspired music, a marriage of chamber music, occasional folk touches, and their own experimental imaginations. The result proved successful on a critical level and no doubt on a personal level as the band managed a work of art in this difficult period which is loved by many to this day.

I think this album works so well because they have managed to avoid the many pitfalls that could trip up something like this. The songs are very melodic and yet not sappy or sweet. They sound quite ambitious, definitely progressive in the longer tracks, and yet never did it feel forced or contrived. Last, they managed to do something completely different from what they had done before, to turn their previous sounds on their ear, and yet still manage a final work that sounds thoroughly Orme. Relaxing acoustic guitars lead the way, yet this is no simple "unplugged" set whereby popular band X simply strums away to their hits. This has the same quest for creative worth as any of their better-known works. Atop the guitars are lively and restless strings, a violin lovers delight! Ditto with the piano, beautiful playing abounds. The percussion element is unique, trading basic drumming for hand percussion integral to the actual song, not just background beat-keeping. Finally, when Aldo does sing his voice is wonderfully complimentary to the album, bringing some warmth and familiarity to music that could initially be jarring to old fans of Le Orme.

The album is bookended by the two most progressive works, with prettier and simpler (yet still fine) tracks in between. The dramatic themes of the opening title track "Florian" are so interesting- here you are listening to this subtle chamber-style piece, yet in your head you can definitely "hear" the 1972 Orme playing this in full classic prog-rock mode, with the huge keys and loud rhythm section, and thing is, it works just as well here. There is naturally more beauty in this presentation and the power/impact, while subtle, clearly remains there for those paying attention. "Jaffe" is beautiful beyond words, with Aldo's voice and delicate strings punctuated by harpsichord providing that well considered richness of tapestry that would put the album over the top. "Fine di un Viaggio" has a bit more of a folk feel with the mandolin and sticks out a bit, the weakest track but still OK. The album closes with the other truly progressive monster, a perfect bookend to the opener "Florian." Like the opener it could easily be modified into a fully bombastic rock piece with electric guitars and banks of keys, but is instead the alter ego, refined, restrained, yet detailed as hell and fully engaging listening. These two pieces are ghosts of progressive rock epics.

So without question, dive right into Florian and give it some weeks and months to assimilate. It is a very rewarding album and not just for RPI fans, I think frankly anyone could enjoy this album. Involving and rich like a superb Cabernet, Florian is an excellent album. Very nearly a masterpiece, this album will tangle with their two early giants for the title of "my favorite Orme album." Just set aside your expectations and be prepared for a very different listening experience. Play this one only when you in the mood to kick back, relax, and give it your attention.

Le Orme's ninth studio album (or tenth, if you include the English-language "Felona & Sorona") sounds even better today than it did in 1979. But even then the LP was a small miracle of musical understatement, released at a time when Progressive Rock was nearing its apex of decadent overkill (Pink Floyd's bloated Wall was erected that same year).

While other acts were dumbing down their sound with commercial Pop and New Wave clichés, Le Orme moved forward by looking backward, trading their guitars and synthesizers for violins and harpsichords, and presenting themselves as an acoustic classical quartet. Even the band's name was trimmed, to the leaner, tidier "Orme". In retrospect it was a brilliant way to sidestep the convulsions shaking the music industry at the end of the decade, while at the same time maintaining a high level of creative integrity. It's too bad more Proggers didn't find a similar escape hatch.

The new direction took a lot of fans by surprise, and apparently still does. But keep in mind this was exactly the sort of music that had always underpinned the Progressive Rock experience. All Orme did was separate the Rock from the Prog, and present the unembellished core of their familiar sound. The album positions two longer instrumental tracks (at seven minutes actually quite modest, by Prog standards) around five shorter songs, all of them suitable accompaniment for after-dinner liqueurs at an upscale café, but still recognizably from the same band responsible for such 1970s RPI classics like "Uomo di Pezza" and "Contrappunti".

Owners of the original vinyl (let's see a show of hands) can also enjoy the handsome packaging, perfectly matched to the unplugged elegance of the songwriting and performances. The textured cardboard sleeve, simply yet beautifully illustrated by Mirella Brugnerotto, opens to a laminated gatefold portrait of the band, formally attired and bathed in a soft-focus, sepia haze: an image out of time, for an album that will never age. The only reason it doesn't earn that coveted fifth star is because of my strict adherence to the ProgArchives rating guidelines..."Florian" may in fact be a masterpiece, but not of anything resembling progressive Rock 'n' Roll.

From the opening notes of "Florian," it's clear you are in for a treat. Le Orme abandon all the preconceptions of Prog on this 1979 release, and accomplish something truly progressive. Trading in electric guitars, bass, synthesizers and drums for baroque instrumentation, the group manages to seamlessly and effortlessly transition into an 'unplugged' version of themselves, and the result is mesmerizing; Florian is beautiful, majestic and powerful in a reserved way. But don't let the acoustic instrumentation scare you away - this is vintage Le Orme, featuring all the trappings of the classic band but in a new presentation. Considering the timeframe, it's clear Le Orme knew something had to change considering the rise of punk and new wave and the wane of progressive rock in general. And change it did...Florian defies all convention, achieving a timeless, dignified result while pushing the boundaries of what Italian Prog is and what it isn't. What this album lacks in raw energy and aggression it more than makes up for in concise songwriting, unique instrumentation, and true emotion.

The instrumental "Florian" sets the tone sublimely. Michi Dei Rossi's percussion ping pongs its way forward, propelling the song in new directions while retaining the classic Le Orme sound. I suppose you could call this 'Chamber Prog'. Newest member Germano Serafin lilts by on violin, expressing himself confidently. Singer Aldo Tagliapietra swaps his trademark bass for cello, and plays more of a reserved role; Antonio Pagliuca trades in vintage analog synthesizers for piano, harpsichord and harmonium. Aldo's familiar voice finally graces the somber "Jaffa," a reflective piece that is full of emotion and the characteristic Le Orme balladeering. "Il Mago" incorporates Eastern sounds, while retaining a driving, rhythmic touch. I especially love the strummed classical guitars on this one. "Pietro il Pescatore" takes things down a notch, and breezes its way through these three-and-half minutes. Don't let the brief running times of these songs fool you - Florian is concise yet fully fleshed out. The playful "Calipso" finds the second side as enjoyable as the first. The longer "Fine di un Viaggio" leads perfectly to the concluding "El Gran Senser." This instrumental bookends the album wonderfully, leaving the listener satisfied yet wanting more.

Florian is one of those albums that may seem like background music at first, but don't let the gentle instrumentation escape your attention. I would consider this one of the more important releases in Le Orme's long history, and one that more than meets the test of time. Florian easily stands next to Contrappunti and Collage in their discography, even if falling a bit short of the masterpiece achievements of Uomo di Pezza and Felona e Sorona. Florian would predate the similar, if somewhat less effective Piccola Rapsodia Dell'Ape which attempts to recapture some of this Florian magic. Florian is definitely recommended for all Le Orme fans, Rock Progressivo Italiano collectors, and especially those with a more adventurous spirit. While I can't quite get to five stars, Florian is every bit of four and probably closer to 4.5. Buy with confidence.

The prospect of a prog rock acoustic album is a tricky one to contemplate. Marillion attempted one not so long ago with Less Is More, but this was a set of earlier material adapted to the format and I found it underwhelming in the long run. On the other hand, given the healthy overlap between 1970s prog and the more adventurous folk music of the time - think of the various prog flutists and violinists we've celebrated over the years - you'd think that a leap into an outright acoustic mode would be viable given suitable material.

For this 1979 release, Le Orme undertook the exercise of putting out an all-acoustic album, taking a two-year break after their preceding album specifically to hone their mastery of the instruments in question. Out are electric guitars and synths; in comes acoustic and classical guitar, harpsicord, harmonium and piano.

The end result is a masterful bit of acoustic folk-prog in the RPI mode. It's graced with one of the most winter-y prog album covers ever executed - reminiscent of those from Genesis' Wind and Wuthering, or Galadriel's Muttered Promises From an Ageless Pond, and whilst the three albums each have a differing musical approach they all share the same sense of melancholy so aptly captured by their varying bits of mostly-monochrome cover art.

In 1979 Le Orme released an album of classically inspired music, tinted with progressive elements.They managed to do something completely different from what they had done before. Violin, cello, piano, acoustic guitar, glockenspiel, bouzouki, harpsichord, harmonium, vibraphone and mandola, which is mainly used in Italian folk music are the instruments used here. Aldo Tagliapietra voice is good. Florian very short album, just over 30 minutes, but is a very underrated album and I think it deserves more attention. Florian is not only an album: it is an experience. Sure it is not perfect, but not many albums are perfect. 4 stars.

Le Orme's penance album.

Very few have heard of Florian, including some Le Orme fans, and that is a shame. For the casual Le Orme fan, this won't even sound like the band. Shorn of the 'Le' for the first time, Orme are also shorn of all of their familiar instruments-electric bass, organ, synth, drum kit? None of these make an appearance on this album. Instead, Orme utilize violin, cello, acoustic guitar, bouzouki, vibraphone, marimba, hand drums, piano and harpsichord to create a chamber music effect that many have mistaken for the band performing with a smaller orchestra.

But fans of the band will still hear what makes the Le Orme sound so recognizable-close your eyes and listen to the violin and cello arrangements of the opener, title track Florian, and you can hear this song played as an organ/bass/drums arrangement that is dancing in the background. This theme continues throughout this baroque inflected mini gem, where those familiar with the band can interpolate these acoustic themes into more familiar electric arrangements. Another highlight is the album closer, El Gran Senser, with some attempted spacey moments and more playful string moments that wouldn't be out of place on a Kronos Quartet album. Very few weak points here, but for those expecting a full on electric blitz, this is not that at all.

One gets the impression that this is somehow late penance for the LA slickness that pooched the 1975 'recorded in California' album Smogmagica that nearly sank them. They recovered strongly on followup Verita Nacoste but couldn't really sustain it on 1977's Storia o Leggenda. Which makes this album so astounding-who would follow up a dollop of the worst of LA with a tribute to the first Gryphon album? Certainly one of the most peculiar follow ups to the usual career killing pop arc in the history of rock, an aberration so startling that one is temped to add another half star for sheer brazenness. Very few in rock could have pulled this off, and even fewer would attempt this, never mind it is the crucial cusp year of 1979 when prog rock officially abdicated. Delicate and beautiful, this album will bear repeated listenings.

Recommended for Le Orme fans that have a few albums under their belt, and acoustic classical/prog fans.

3.75 stars