1. Danza del vento (Prima parte) (3:36)
2. Il vento, il cielo e la notte (7:16)
3. Danza del vento (Seconda parte) (1:29)
4. Danza della terra (2:22)
5. Risveglio (3:59)
6. Canto di preghiera (1:59)
7. Lord Of Dance (2:52)
8. Danza della pioggia (2:38)
9. Dove tutto e'! (4:40)
10. Luce dorata (1:29)
11. Danza del fuoco (2:41)
12. Il respiro (2:21)
13. Danza del vento (Terza parte) (3:38)
14. Risveglio (Reprise) (1:27)

- Aldo Tagliapietra - vocals, bass, bass pedal, guitar, sitar
- Michi Dei Rossi - drums, percussion, glockenspiel, campane tubolari
- Michele Bon - Hammond organ, keyboards, guitar simulator, vocals, lead vocals (7)
- Andrea Bassato - piano, keyboards, violin, vocals

Following the great success of ''Il fiume'' (the album sold about 50,000 copies within a year), Le Orme had a memorable performance at the Progfest 97' in Los Angeles but also had to deal with the departure of Sartori, who was replaced by Andrea Bassato.The next couple of years were full of concerts in Italy, Canada and Mexico among other countries and in 2001 the band returns with another new release.''Elementi'' , featuring a cover by famous surrealist painter Paul Whitehead, was a concept album around the human through the metaphor of the four elements that compose the material universe.

Another huge effort by Le Orme, which combine their past style with a new, refreshing and modern approach.The synthesizers of Michele Bon are eventually a significant part of Le Orme's music along with some electronic sounds, but there are long parts with dominant organ and grand piano to satisfy any fan of vintage Italian Prog.The new millenium finds Tagliapietra in a great shape.His voice remains romantic and sensitive, his acoustic guitar still creates lovely and emotional sounds and it is now combined with some delicate background synths.Additionally he delivers some excellent and thrilling guitar solos to send any guitar virtuoso home.The symphonic sound is for once more the trademark of the band: Nice interplays, lovely harmonies and Classical interludes are still on menu and as great as ever.And even some complex parts with organ and a very solid rhythm section can be detected at moments.The concept of the album works perfectly, all tracks are tightly connected with smooth piano/acoustic interludes giving their place to grandiose Neo/Symphonic Prog of first class.

Any doubts about the sound Le Orme would follow after ''Il fiume'' have faded for good.This is absolutely great and fresh Symphonic Progressive Rock with this beautiful Italian flavor throughout and comparable to the greatest works of the band from the 70's.Highly recommended. --- apps79, progarchives.com

"Elementi" e' l'unico album delle Orme senza recensione sul sito ,vediamo di porgli rapidamente rimedio.Innanzitutto la copertina ,si tratta di una azzeccata interpretazione da parte di Paul Whitehead dei quattro elementi .Rispetto all'album precedente il piacevole "Il fiume" si presenta musicalmente piu' dinamico.La qualita' delle canzoni si avvicina molto ai capolavori degli anni'70 ,non semplicemente copiando se stessi ,ma vestite da un suono moderno.Ci sono 4 suite sui quattro elementi, che si susseguono senza soluzione di continuità l'uno nell'altra. Le composizioni sono ben bilanciate tra brani piu' veloci e quelli più sognanti, come pure tra le sezioni vocali e strumentali. Il suono dominato dai due tastieristi è molto denso e voluminoso, arricchita dal basso di Aldo Tagliapietra,in ottima forma a livello vocale non e' una novita',e qualche occasionale spruzzata di Hammond. Il tastierista Michele Bon, straordinario musicista, coinvolto anche con le parti di chitarra (ascoltare la sua tastiera personalizzata emulare il suono della chitarra),supportato da Andrea Bassato che qua' sostituisce Francesco Sartori ,al piano e violino.Probabilmente gli amanti del suono anni '70 del gruppo potranno storcere il naso per l'inclusione della "chitarra elettrica" ,tuttavia tali inserti rappresentono un contrasto benvenuto ai molti passaggi dominati dalle tastiere.I pezzi sono generalmente piu' concisi rispetto le produzioni dei primi settanta ,il brano piu' lungo "Il vento,il cielo e la notte" ,supera di poco i 7 minuti, dimostra ancora una volta che grande cantante sia Aldo Tagliapietra."Danza del vento (prima parte)" e' una splendiada Overture ...bella come sempre la batteria di Michi Dei Rossi. Il risultato e' un disco di ottimo rock progressivo ,forse non innovativo alle orecchie dei piu' ,ma di grande resa in termini di composizione e performance artistica. --- debaser.it

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01. Florian - 6:47				play
02. Jaffa - 3:06
03. Il mago - 3:05
04. Pietro il pescatore - 3:24
05. Calipso - 3:46
06. Fine di un viaggio - 4:49
07. El gran senser - 7:01

- Antonio (Tony) Pagliuca – piano, harpsichord, harmonium
- Aldo Tagliapietra – lead vocals, cello, classical guitar
- Michi Dei Rossi – vibraphone, percussion, glockenspiel, marimba
- Germano Serafin - violin, acoustic guitar, bouzouki, mandolin

All titles written by Aldo Tagliapietra and Antonio Pagliuca.

By 1979, the progressive rock movement was pretty much dead and the bands that were still hanging on had gone through severe and often ill-fated transformations, alienating their fan base without managing to reach wider audiences. Le Orme didn't go down that road. Instead, after releasing two albums in 1977, the band took a breather in 1978 and came back in 1979 with an all-acoustic record, Florian. Granted, it is a weaker effort, and most listeners will find it lacks ambition and grandeur. And yet, what a splendid endeavor for a band that was once known as an organ-led powerhouse trio. Picking up on the increased presence of acoustic guitars (and increased importance of the Italian songwriting tradition) on 1977's Storia o Leggenda, Florian offers a blend of neo-classical compositions and pastoral songs. All four members of the band go out of their way to expand their palette of acoustic instruments: singer/bassist Aldo Tagliapietra plays some cello; keyboardist Antonio Pagliuca adds harpsichord and harmonium to his grand piano; drummer Michi Dei Rossi spends a lot of time on mallet percussion; finally, guitarist Germano Serafin (who joined the band for Verità Nascoste in early 1977) whips out a violin, in addition to playing bouzouki and lots of mandolin. As a result, the opening of "Florian" sounds almost like a string quartet -- it is by far the most neo-classical-sounding piece on this short album. "Il Mago" and "Fine di un Viaggio" are two gorgeous songs that would have fitted in with the material on Storia o Leggenda, and Tagliapietra delivers sensible vocal performances. "El Gran Senser," the closing track, steps outside the box for a freer piece with improvisation and experimental sonorities from the harpsichord and violin. Low-key and understated, Florian makes a strong case toward proving that Le Orme were always willing to reinvent their approach. And Pagliuca and Tagliapietra had the composing chops to pull off such a bold project. The album is beautiful, both in terms of writing and execution. And though it is not what you would expect from Le Orme, it unmistakably sounds like late-‘70s Le Orme -- much more so than Smogmagica, for instance. --- François Couture, allmusic.com

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.

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01. Il Treno - 3:50
02. Raccogli le Nuvole - 4:13
03. La Mia Sposa Bianca - 3:44
04. Piccola Rapsodia dell'Ape - 5:12	   play
05. Charango - 2:58
06. Fiori di Luce - 3:25
07. Fragile Conchiglia - 6:22
08. Buona Notte - 2:43

Personnel:
- Antonio Pagliuca - piano
- Aldo Tagliapietra - vocals, guitars, cello
- Michi Dei Rossi - vibraphone, marimba, glockenspiel, percussion
- Germano Serafin - violin, charango, bouzouki, 12-string guitar

All tracks by Antonio Pagliuca, Aldo Tagliapietra, Germano Serafin.

Looking at Le Orme's late-‘70s output, there is a logical progression leading from Verità Nascoste (1977) to Piccola Rapsodia dell'Ape (1980). Verità Nascoste integrated the rock lessons learned (and ill-realized) on Smogmagica to Le Orme's own sound; Storia o Leggenda took a more acoustic/Italian song approach to said sound; Florian pushed things further into acoustic/neo-classical territory; finally, Piccola Rapsodia dell'Ape retained part of the pastoral elements from Florian and reapplied them to the acoustic progressive rock approach defined on Storia o Leggenda. Piccola closes the third era in the band's life (the first one being the pre-Collage years, In Concerto concluding the second chapter). It is not their strongest proposition, but it remains true to Le Orme's latter-day sound, at a time when bands like Genesis, Gentle Giant, and Jethro Tull (not to mention other Italian greats like PFM and Banco) were undergoing severe transformation and sound/audience reorientation. Piccola is a quiet album -- not as quiet as Florian though, but the instrumentation is the same. You get to hear more charango than drums, more acoustic guitars than piano, and no electric keyboards at all. The songwriting veers toward the Italian ballad, for songs ("Buona Notte," "Fiori di Luce," "La Mia Sposa Bianca") that, though pretty, fail to match the moving quality of the best moments on the previous two albums. The title track carries a strong progressive rock charge, and "Il Treno" and "Raccogli le Nuvole" are finely crafted songs. But the album is very light overall and sounds somewhat uncommitted. It is not bad per se and, if you are partial to the Italian ballad current that ran through ‘70s Italian progressive rock, you should enjoy it to an extent. Finally, it may not be prime Le Orme, but it sounds timeless, bearing none of the production traits that have become so closely associated with the early ‘80s. --- François Couture, allmusic.com

Piccola rapsodia dell'ape è un LP del complesso musicale italiano Le Orme registrato nel 1980. L'album conferma essenzialmente le scelte stilistiche del precedente Florian; riprende quindi l'organico ispirato alla musica classica, ma presenta anche alcune significative differenze: nonostante sia confermato l'organico con violino e violoncello, l'uso dell'archetto si riduce, lasciando maggior spazio al pizzicato ottenuto con vari strumenti a corda, conferendo così all'album una più spiccata atmosfera da musica folk; a causa del ritardo nella preparazione dell'album rispetto agli impegni contrattuali assunti con la casa discografica, per completare nei tempi la realizzazione viene largamente utilizzato il materiale musicale composto da Germano Serafin, che diventa la forza trainante di questa produzione pur non avendo in precedenza partecipato alla stesura dei pezzi. Dall'album fu tratto un singolo: il brano omonimo, strumentale. L'ape, l'animale cui sono dedicati il singolo e l'album, rappresenta l'universo femminile per eccellenza. Si tratta di un mondo ricco di musica, danze e di febbrile attività, ma che non resta privo di lati oscuri: per esempio, lo spirito sociale dell'animale lo porta ad ubbidire a leggi assai precise e rigide, come quelle che dettano i ritmi del lavoro e quelle che relegano il maschio al ruolo riproduttivo.

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