Ross Quaresmini was born on 30 August 1961 in Brescia, he can be considered a pioneer of the new age ambient environment, an interpretative and ethic window of the revival movement before becoming public domain.
Since the first half of the eighties, the excursus of our artist was on his way; autodidact, keyboardist and composer, first generation tester, he reveals electronic and non indifferent affinities, cementing a sound and cybernetic relationship man-workstation, advancing and anticipating a kind of technology not so known at that time, (sequencer, samplers) in order to reach his creative ego.
Just thanks to his code, Ross Quaresmini also proved to be a valuable technical support for computer mi-brand firms (Onetime Tech Srl) and partner of XgClub (Yamaha) during the years.
Detected and found out by Mimmo Paganelli (EMI Records) for the presentation of his first official works to RTI Music/MediaSet during the historical period of Biscione (end of eighties, beginning of nineties); signature tunes, television advertisings, etc. required a documentary approach, with manneristic and vintage punctuations; however, the composer followed blindly and in any case his artistic calibre, revealing style, with references such as pop romantic melodies echoes, the moulded alembic of Alan Parson Project, inaugurating his personal style through marked and epic gothic Vangelis tonalities, linking to J.M.Jarre or Enigma sequenced Euro atmospheres, in the memory drawer the Tangerin Dream too.
We recall from "Pop Odissey" (Mediaset Ed. 1993) the raging break of "Big Bang" and the sidereal rushes towards the infinity of "Nemesys" and "Sphere" proposed and combined on the video of Mai dire goal, Il milionario, La grande sfida and more recently the advertising of Hyundai Matrix….
Syllogic and final stamp towards the movement of revival so the steamer arrived for the pacific vision of "Megaptera", (serie Celestio 1997 Tring Srl) that will be the strong point of the author.
Breaths and slight tones of soft electric basis for the kinematics "Last Thing I Remember" often the soloist also entrusted to the mystic pan-flute, while the orchestra sustains the enchainting qualities of this magic instruments "Silence and I".
Megapttera, the song of whales emerges on the huge setting of waves, rising in a warm relax.
Alchemistic and astrological route for the soul such as in "Dans Une Goutte d’Eau de Mer" flows away fluid leaving back worries and anxieties, helping to plough the eternity, that is metaphorically our soul.
The year after Ross Quaresmini gives the posterity the CD "Navigator" (1998 ….Records), sensibly more rhythmic and electronical, an astral run-up towards time and space, in some points futuristic too "……", "Titanic" and a background of passion, poured in a fan-shaped of ethered voices in a unceasing advancing.
Guessed, among the others " ….." and " Millenium", episodes of crossed World Music where aboriginal sounds find superb dialogue with the fascinating contemporary instrument.
After some years new inspirations, if reality seems to be symbiotic of essences," Uriel" (2002) is the most conceptual work, invoking the mystery of the oldest scientific origins and the symbols of the disappeared civilization.
In this context Uriel proposed itself with a superior approach; painting sumptuous arrangements, impressive synthesized sections of strings, particularly fascinating chorales of accompaniment; he also gives us five thrilling minutes with "Emerald Love", a brilliant morriconiana matching between grand piano and orchestra, a simple theme towards immortal.
Among mantras, an untainted ecological atmosphere with "Five Elements" culminating in the reprise of "Emerald Love II" an " etnofilarmonica" mixture really arranged, gives us some neologism…..
The last hard work " Monumental Wind" (Oxyd Records 2004) an imposing emblem of a collection of stratifications for picturesque special effects for such as the extraordinary harp, the main voice of "Eternal Voyage II" and two interludes with an extreme rarefaction and religiousness like " Silent Daydream" and "Prelude to a Morning Glory".
Even if he is inundated in the native contemplation and in the charm of the latter ones, he exceeds in prolixity in some landscapes and in the stylistic self-gratification. It must be mentioned " Midnight Forest". At this time Quaresmini could accelerate towards the new age of celtic stamp.
Deliberately melting with his DNA, he could recover some beginning notes too, which are a little more vivacious and sputtering, where he could meet cultural syncretism, tribal rhytmics and endless openings without overflowing in the invasive off-glides of that kind. In the soul of Mother Earth.
We are looking forward to the next……