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Divergences per due violini is written for two emblematic instruments within the intimacy of unmeasured realities where one cannot play without the consent of the other, one waiting for the other, one guided by the other.
Divergences per due violini also tries to embrace and cope with the Nietzschean statement that Marilyn Manson pronounced over twenty years ago, at the 1997 MTV Video Music Awards, that “... we will no longer be oppressed by the fascism of Christianity and by the fascism of beauty.’’
The angularity of the pitch structuration is determined by the omnipresence of major sevenths and their close relatives. The flow of the diatonic tension is characterized by the quality of the spread of these intervals.
In answer to Manson, the three pieces are the prayer of a poor man who wonders about the ones who live in abundance and debauchery, and still continue to obtain riches. He asks if it is in vain that he purified his heart and washed his hands in the midst of innocents. He thinks: “If I had said, ʻI will speak like them,’ I would have reproved the race of Thy children. I was reduced to nothingness, and I did not know why.’’
But in that context, Lucifer cometh (III).
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