Né l’être… éternel

This work is composed of two distinct parts: the first one is a collection of four tracks for a vocals/cello/piano trio, while in the second part is a sound experiment the intent of which is to recreate – by means of some acoustic instruments together with the employ of a sophisticated set of samplings – the sound of a late-romantic orchestra (containing in fact some evident contemporary accents and elements) performing the symphonic composition named Eternel. This work is divided into four movements and it is related to the homonymous theatrical work, containing the sections where narrations are associated with and accompanied by the respective musical moments.

The discussed subject is death, with the sense and connotations that mostly ancient peoples were used to give it and, more recently, even peasants, living in a now probably disappeared world. It’s a death that is seen as a part of life, this very life that is “guided” by the dream, where you can “feel” the souls and meeting angels can be reality… What remains in the end is a strong sense of nostalgia, infused in the sound-web, now minimalist, now more epical and majestic: that sense of deep serenity that we, lucky living persons, keep from the death lived with the still shiny eyes that will never be able to forget.

Moreover, there is a fundamental vital pursuit of a symbiotic relation with Nature, that can make us live and see, refracted within our inner world, some unexpected specular reflections: the bridge of the presumed crossing from one state to another, if seen – in an oneiric condition – reflected onto two orthogonal planes, can show us the vision of infinity, of the symbol of continuousness, soaked in a both comfortable and unchangeable eternal nature.

A work opening the doors of Time, transcending each apocalyptical longing of the most irreverent prophets and unhinging the barriers of hypocrisy, leading us towards the age of Truth and total expressiveness of the pure Spirit.

Eternel – movements

I. ADAGIO, as a funeral ceremony on a hill

La coltre del’ombra (The pall of the shadow) tells about the legend of the birth of cemeteries, born to grant the wish of the wind, as it was moved to pity by the endless wandering of the souls in the sky just above the living men’s heads. This fantastic tale tells that the ground where the dead men could finally stop and rest, became fruitful in such an incredible manner, that the most beautiful flowers could rise even there.

Note: about the music inspired and composed by following the tale, we’ve tried a sort of experiment: after reading La coltre dell’ombra, the three voices have chosen only few sentences to sing, just the ones they were in fact at first mostly struck by. The decision not to lay words on music was taken for leaving the two means self-expressive, trying to let them give an intense emotion and not to subordinate any expressive form to the other one at all.

II. DISTURBATO, as a rainy afternoon with sad thoughts

La pioggia infinita (The never ending rain) has to be considered as the “atypical” movement of the whole project, either because the protagonist’s still “present”, or else because it’s a unique tale with other meanings besides the ones of the words it tells, on our account. The starting sentence “Each raindrop is a kiss from Heaven” wishes to be a homage to Friedrich Hundertwassser’s work: the dialogues opening the telling of the tale make the tribute to the artist (recently disappeared) more explicit (“She was letting her imagination run away with her wish to walk on the roofs with the sun sparkling in a miscellaneousness of colours from the cut-glasses of the chimney stack”).
The tale tells of an angel coming onto earth to take a lonely and sad girl to places where she will be allowed to get free, an angel coming to take her far away from a “sea of powerlessness that is slowly getting her more and more motionless from the inside”: a kind of disease with such a long and terrible name that she doesn’t want to learn it at all.

Note: about the musical form, the track was conceived as a sort of soundtrack to the writing, as it could fill the words up in an attempt to create the imaginary context and to underline all the changing moods that follow one another during the telling of the tale.

III. IRONICO CON BRIO, as winning a hide-and-seek game 

Con lentezza (Slowly): there’s a tiny flute that takes us to an enchanted world where the dark voices of life oppose themselves against spirituality, soaked in love and nostalgia.
Maybe it’s a little ironical trip into a fantastic world, a trip that sometimes seems to be the only way to overcome sadness, often mastering our souls.
…In order that no more what the derisory voice of experience repeats will be:
“…grey words can come back and scratch the sky, and sad men in their eyes, when the sun filters from the trees and the sea sings one more…”

IV. RILASSATO, as the man who admires nature with sharing, with FINALE-RONDO’

Memorie is nothing else than a singing of birds, that first is light as a spring rain and then gets round and rich.
Memorie is nothing else than a light turning slowly the violet reflection of the night into the yellow nuances of the sun.
Memorie are three persons standing in a circle in front of the mystery of death.
Memorie is the guiding spirit in the realm of dreams, who keeps on circling around the branches of the trees at the rising of the day.
Memorie is the hazy sensation of awakening, the trace revealing that there are in fact no true barriers between life and death.