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Respiro sul lato dell'abisso
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There is a place within ourselves where everything seems vast and deep. It is an infinite place, on the edge of the soul. Only a few experiences allow us to arrive in this place and such experiences seem to distance us from reality as much as to approach a personal, intimate and original truth.
Pascal's words, “The eternal silence of these spaces anguish me”, remind me of this place. In his attempt to rationalize the problem of Being, Heidegger says that the Seyn (Being), withdrawing from the entities, accepts nothingness within itself, revealing itself in this place (Ort) as non-entity, nothing-entity, nothing. Baudelaire's "... from every window I see nothing but infinity ..." manifests the fear of infinite vertigo. This place, where nothing seems to merge with infinity, I can no longer hesitate to call it abyss.
As in a Dante's journey inside the soul on the border of the infinity, in Respiro sul lato dell’abisso I wanted to enter this place through the images of music, in the company of the thoughts of different authors and the words of the poet Pietro Nigro from Syracuse, in the collection Astronavi dell’anima. I did it in eight pieces, united by a circle of common elements but in different musical atmospheres.
The breath – the deep and intimate one that lives in close contact with our emotions – is our presence on the journey to the edge of the abyss. The Breath manifests itself both as real and physically perceptible and in waves (more or less dilated) of timbre. Time is at times rhythmic, clumped and agitated and at
times, where an intricate network of temporal stratifications create an underground perceptual environment, an apparently dispersed and lost but still tense evolution emerges.
In I. Sospeso il pensiero (Suspended the thought), a gash in the silence opens the doors to a territory suspended in a placid multitude of slow pulsations; deep orchestral colours are born that open the doors to II. Risplende la luce (The light shines), a dance of orchestral colours.
In III. Penetra l’eterno (It penetrates the eternal), an underground overlapping of timbral breaths opens the doors to the desperate IV. Sfaldando la volta (Flaking the vault).
In V. Ai confini, (At the limit), the splitting of two musical materials begins to manifest, one more rigid and spotted and one more plastic and fluid.
IV. Sfumano silenzi d’attesa (They fade silences of expectation) bring back the colours of the second movement, this time more faded and leaving space for a more tense lyricism.
In VII. Sul lato dell’abisso (On the side of the abyss) the true split between Being and entity takes place, which by opening the doors to nothingness, brings out the real and true anguish of our-presence.
In a suspended and changing atmosphere, VIII. Voci di uomini e di dei (Voices of men and gods) inscribes the hyperuranium realm of metaphysics in an infinite circle of breaths.
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