Piano e spazio oltre il limite metafisico

The diptych Piano e spazio oltre il limite metafisico has at the centre of the extra-musical path two fragments of Heraclitus from Ephesus. The first movement I. ma tutto governa la folgore (but all governs the lightning) is a large fresco, where harmonic colors transfigure into each other creating a long process of intensification of the phenomena. All this culminates in a sudden shuffling resulting in gradual erosion of materials. The musical discourse, emptying, gives way to the second movement, II. Comune il principio e la fine del cerchio (shared the beginning and the end of the circle) where the continuous circle of breath, harmonic and physiological, is the backdrop to a long parable tension. Here the principle of variation accumulates intensity and expressive power, helped by an increase in dynamic’s chiaroscuro; everything returns, at the end, at the beginning of the movement. I. ma tutto governa la folgore In the first movement, images of the Heraclitus’ fragment make sound. The charge stored in the sections marked by the indication of tempo "fluid" and marked by small clouds and lightning followed by a strong, and gradually more and more intense, download, a violent blast of lightning and noise mixed sound where a shrill violin seems to be pinched foretelling the imminent divine flash, lightning. The complex phenomenon of lightning followed, with an immediately perceptible contrast of fabric, from the sections marked by "Teso". They represent the domain of lightning on Nature, and in particular on the nature perceived with the eyes of man, that, subject, produces a "singing" expressiveness choked, ragged, torn; languor pervades the state of hearing that from now declines interior outward, toward the intimate and personal relationship with the abandonment. In both sections there is the personal use of the technique of re-reading, in which case the sections "Teso" is played from the last section re-read backwards. II. comune il principio e la fine del cerchio In the second movement the continuous circle of breath appears to become a vortex, a backwash. As there are two phases of the circle, beginning and end, there are two phases of breathing, inhaling and exhaling, two are also the types of breath that, in the alternation, not systematic, generating an inevitable osmotic interchange of perceptual information; the physiological breath, which is the basis of the principle comes to be so to say "colored" by the harmony, while the harmonic generated by the alternation of two chords circular (there will be then the intrusion of the other two) is to shed fibers while tonally the continued intensification of the remaining general parameters. All course on the limit of inaudible, of noise and of distorted. Formal structure, harmonic structure, paradoxically dynamic structure become part of the closing of the circle, the coincidence of opposites, the principle of the most interesting of the Heraclitus’ philosophy.