"The work is configured as a study of the material essence of sound, strongly linked to an exploration of the materials that compose the musical instruments themselves. At the primordial aspect of matter, free from the need for an external subject, the sign imprints the expressiveness of form. The treatment of the texture, rough and abstract, transcends the properly figurative aspect, seeking to evoke rather than narrate, drawing a broad formal arc through the gradual metamorphosis of the initial sonic gestures. Rips and fraying draw a wounded landscape, a metaphor for a fragmented reality destined for crumbling. A subtle memory traverses the tangle to grasp the intimate relationship of all parts, like a horizon of stillness emerging from an interior space."
Traiettorie 2016 - XXVI International Festival of Modern and Contemporary Music
Ensemble Prometeo Concert on 23/11/2016 at the Casa della Musica in Parma
Daniela Terranova (1977)
"Di natura sottile" (2016)
for flute, clarinet, violin, viola, cello, piano and percussion
Truly interesting; the pulsation of time becomes matter to such an extent that one could cut it with a knife. These are indeed aspects undervalued by masters. The value of silence, the duration of time and the expansion of sound or even, the sound that can become almost percussive, violent, disconcerting in the space/time relationship. I, for example, am often fascinated by the mere echo emitted in the piano body when the dampers are suddenly released with the pedal, and I stop there to listen and listen... I understand why Cortot attributed to it the value of "Soul" of the piano.
Music begins before the music. Thought and silence are already... a white background to be subsequently sprayed with sounds.
His work immediately surprises with the nervous chasing of muted, plucked strings, in mysterious whispers, in the development of sound waves, cyclic and suspended over a silence like an enigmatic void. Is it possible to read its metaphysical interior as a condition of irrelativity, a negation of meaning?
«It is possible to read it as a negation of an evidence, as a representation of a subtle imaginary, which is an expression of the spirituality of contemporary man. Sound can be expressive in itself and not necessarily for something external that it should represent or signify. In this work, the treatment of the texture—rough, material yet abstract—surpasses the properly figurative aspect, seeking to evoke rather than to tell, resorting to processes of accumulation and rarefaction, density and transparency, and drawing a broad formal arc through the gradual metamorphosis of the initial sonic gestures. The matter of the work is silent, but alive, capable of constructing a strongly polysemic sonic dramaturgy. In such a conception, the very gestures linked to the material of which string instruments are composed constitute a possible source of meaning. Meanings therefore reside in the sound flow, conceived as a sum of harmonic and inharmonic elements, and in the musicians' own gestures that paint almost a choreography of sound. The creative act translates into the attempt to capture an impression, rather than providing a description».
