Alma Mater Vitae is an electroacoustic composition that attempts to transpose the relationship established between the human being and the fundamental element that allows its existence, namely water, into a musical key. The piece is divided into three different sections, arranged in such a way as to create a sort of temporal path: in fact, the first part recalls the relationship between man and water existing in the most remote past. The central part presents the same relationship in the contemporary world. Finally, the third part ideally proposes the relationship that will be created in the future. – R.C.

Petroleum is not only matter, but also an absolute concept, a world in which producers and consumers have infinite interdependence. The opposing subjects narrate the same hypocrisy, suspended in a position by atypical antagonists. Only innocence gives a different vision, since not perceiving that absurd world, it behaves like water crossed by petroleum without any interaction. Water does not purify that strange world, but allows an alternative to shine through, turning off the sense of polarity and reminding man to celebrate the land. The composition was born from the idea of ​​travel through variegated sound contrasts, a symbol of interdependence in the “Petroleum” world, rhythmic and arrhythmic sounds, punctual and continuous, concrete and synthetic, in which a more or less deep fusion is often heard. The voice in the acousmatic passage represents innocence, a divinity that observes, denounces history and forgets the Petroleum system. The composition cites passages from the work Petrolio by P. P. Pasolini, from which the title of the composition also derives. – A.F.

Guado, Mobile is an acousmatic composition built on the hinges of density and semantic field of sound. The idea of ​​the passage of compositional time, sets the density parameter as a structural element, delimiting the macroform in a temporal sense, in the conduct of a significant collision between non-homogeneous acoustic events, as an indicator of different levels of the listening direction, in the sense of ideally vertical elevation. Density is also the surface profile of the acoustic event, its emergence with a degree of porosity, what allows you to see or touch beyond itself, allows light to filter, to sense its intimate relationship with silence. The crossing sound density is combined here with the exposure of a time and a spatial character due to the distance between the sources of diffusion: the space is not only physical but also emotional, so a sound can appear porous and close, rough, or dense and watery as if it were far away in time. The semantic field tends to delimit itself around related images, such as percussion, voice, water or ferocious beast, in a texture in which they seek common ground for a tragic sense and an ironic spirit. The materials used are synthetic, produced through the use of physical models and resonant technical processes. – M.M.

The composition needs to bring together the suggestion of Liquidi Volumi in a single expressive act starting from the concept of chorality: a single performer for an eight-part choir. This intervention uses vocality as a means of defining the sound space, vocality that it becomes acoustic prayer. The structure of the piece is composed of eight parallel lines of variable delay*, which represent the eight voices of the choir as well as the eight clusters of speakers, and can be imagined as a mandala which, developing from its center (the voice), progresses in an increasingly complex and diversified way outwards until it dissolves. The vocal materials generated arise from an improvisation of the composer / performer live, which is based on the exploration of the rhythmic, timbre and expressive possibilities of the voice, processed and sent to the eight delay lines, each of which assigned to one of the clusters in two modes: random delay and controlled delay. The density and movement of the sound masses in the space make the fruition of the experiential piece, thanks also to the acoustic thickenings resulting from the sum of the wave fronts reflected by the surface of the Tiber.

* The system is inspired by the composition “Solo” by Karlheinz Stockhausen.

The piece has a circular tripartite structure, as a reference to the recurring characteristics of past history: the processes repeat themselves but time advances in a straight line, like a river that continues to flow eternally.

In a finite system, with infinite time, each combination can repeat itself infinite times: the eternal return of the equal alternation between defeat and victory, discouragement and exaltation.

The first part is a representation of uncertainty and fear of the future, the characteristics of the amplification system provide variable rhythmic combinations based on the mutual position between speakers and listener, and the delays resulting from the distances between speakers and spectator. In this phase, the tensions that reach the peak just before the second part, designed as a representation of awareness and redemption, accumulate. In the central part, tensions ease and make room for sustained harmonic sounds that develop outlining a sense of strength and security: a transitory moment for the satisfaction of ambitions and the triumph over the uncertainties of the past.

The ending takes shape as the transfiguration of an ephemeral exaltation, which until recently before it appeared solid, returning inexorably to its starting point.