a general view,
there are compositional constructions and interpretations in a fresco
with weel defines "schemes", whose intellectual enjoyment, to me,
overcomes the physics of sound: composing by improvising!
quiet dialogues and
affective pulsion of the double bass. It opens, with hyperboles of
sound, to a naturistic scenario.
intervals which are willing to recall the dodecaphonic tension of
composition, also with artiphicious timbres (harmonics) of the
instruments, to end - throught that rhythmic "troumpe d'oil"
that fuition of extreme undeterminess of the parameters of sound given
horizontally and then vertically (almost a "cluster"),
nothing. Beautyful piano.
YES SKKEM, a
timbre (delicate and sensitive)... rarefied, from which the continuum
of the melody starts...
a contrast between line and point (line = moving point) and,
gradually and changing, the timbric roles are inverted, in the
representation of rhythmic 'puntillism'.
exaltant mute on the trumpet, is there here a Minotaurus? A archetype
sense of the sound fills this composition and, to exit out of the
descriptions: compliments to the double bassist!
for a "unavoidable" never said.
Fernando Grillo, with compliments
to Markus Stockhausen,
Giorgio Dini, Gianni Lenoci - July 2006