Robert Fripp

Robert Fripp's Diary

Tuesday 23 March 2010

Convento La Pace Sassoferrato Italy


Convento La Pace, Sassoferrato, Italy.


Waking to the Bird Choir c. 05.30, then reminded by the bells at 06.00 that I was already awake, rising at 06.06.

Drafting the day’s schedule before Morning Sitting at 07.15.

On the board is the Views From The Podium posted yesterday but, if The OCG’s work last evening were any indication, the print was not large enough to be read. So, Mariana of the GC Office has printed the Views again, but much much larger…


In case the larger-words were unintelligible to our Spanish speakers, a large proportion of the Team here, Fernando the Translator read his Spanish version at Breakfast (08.00), which will also be pinned to the board.

A discussion of the day’s schedule in a dining room sufficiently quiet that comments, reports & observations would also have been possible.

Various meetings: House – Kitchen Team at 09.30, Kindergarten Guitar with Mr. Paolo at 10.30, RF meetings with Section & Circle Leaders & Buddies also at 10.30, Work In The Circle in two groups at 11.00.

An over-breakfast discussion with Dr. Mike on the work of the SSG IV.
A post-breakfast meeting with Hernan to catch up on various arisings on various scales, including the performance on Friday in the church.

11.17    Fernando the Translator has put the Spanish translation on the Board I…








Visiones desde El Podio del Director

Si sabes lo que vas a tocar, toca otra cosa; o nada.

Después de todo, por qué tocar la nota correcta cuando hay un montón de otras notas que se ponen en el camino?

A menudo una cuerda es suficiente;
y algunas veces una sola cuerda ya es demasiado.

El ritmo se hace mas aparente cuando dejamos de tocar de vez en cuando.

Las dinámicas son buenas, y son mas obvias cuando algunas notas suenan mas despacio que otras.

Si quieres tocar fuerte, constantemente y sin parar, considera hacerte baterista.

Rasgueo fuerte y sin fin = muerte.

Es bueno escucharte a ti mismo;
pero escuchar a los demás es necesario.

Permanece en movimiento, estés quieto o no:
la quietud es dinamica, solo aparenta ser estática.

Esta permitido respirar.

Los criterios son: confiabilidad, repetibilidad y responsabilidad.

Estas tocando con amigos;
    te gusten o no,
    les gustes o no;
    lo sepamos o no.

Si nada de esto es aplicable para ti, tienes una carrera como manager de artistas, A&R o baterista esperandote.


11.24    Meeting with Circle & Section Leaders and Buddies at 10.30 to discuss current movements within The Orchestra, approaches to ordering, organizing & directing its energies & enthusiasms. Nine section leaders were identified. Discussing the autonomous-while-related possible nine circles within the Orchestral Circle & their capacity to respond to each other & the Whole. Practicalities of the church performance.

Personal meetings at noon.
Lunch at 13.00.


17.33    Performances at lunch & tea, among these The Orchestra’s harp player presenting their debut performance.

Personal meetings underway for several of the Team, my own from 16.30 – 17.30.

T’ai chi at 18.45.

23.21    Dinner at 19.30. Several performances, with music in attendance. This is the first time I have heard Red played in a GC context, and played well.

Hernan & RF met with the Rosario & Buenos Aires Circles. Little was said to me, but we looked ahead to September 27th. this year when I travel to Rosario for The OCG IV course. A few words on how the Rosario Circle might prepare for the course in their own group practice.

Meeting with NAFGC at 21.00. Hellboy Tom called in at the beginning of the meeting. First point of discussion: the new School Initiative in Seattle. Then, possible areas of specialized study.

The Orchestra met at 22.00.
The role was articulated, of at least one person who can be relied upon, to call on the Muse for help.
When ready, please begin – but are we ready? What does it take to be ready?

Nine Section Leaders identified themselves by beginning to play, attracting Orks to themselves & so forming nine Circles. Our harp player took their place & remained in situ, while the Circles moved towards motion.

Remain in motion. Although some Circles adopted intermediate places of repose, motion is best. After c. 35 minutes of continuous playing, the Orchestra moved into the corridor and divided into two groups for a formal introduction to The Whizz. Not everyone in The Orchestra is familiar with whizzing. Four exceptionally vicious persons, selected on the grounds of their viciousness, were placed at the Four Quarters Of The Whizz. This continuing until c. 23.15.

One participant approached me afterwards: they see their reliability & capacity to call upon the Muse; and have a sense & feel for what this entails.