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A Landscape in My Hands (2017)

for piano

Duration: 7'

Written for Anna D'Errico

Premiere: 5 October 2018

Italian Institute of Culture - IRCAM's Concert Season, Paris

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In my most recent works my research has focused on the possibility to make the abstract nature of sound visible and tactile, thus assigning great importance to the gesturality of the performers, who have the task of giving life and form to a silent material dimension. The expressive power of gestures allows the sound to be seen, as well as heard, and the actual physical presence of the musical instruments acquires a very strong symbolic value similar to that of 17th century still life: it is a presence that shows man the possibility of surviving through art. 

I wrote A Landscape In My Hands for Anna D’Errico, an extraordinary musician who proved to be an interlocutor of rare sensitivity. In the piece the exploration of the actual material the instrument is made of, was determinant in the creation of a score that is like a sonic image strongly linked to the different ways of producing sound. The gesturality of the performer was a vivid source of inspiration, and the attentive observation enabled me to invent a vocabulary that was close to my vision and rich in semantic implications able to capture the attention of the eyes as well as the ears of the listener. The sound becomes ‘tactile’ through the performance of the artist, who, with her gestures, modulates the outlines and nuances of a living material. The different modalities of producing sound converge in emphasizing the rough and gritty aspect of a matter that is questioning itself. With the passing of time it is possible to recognize the metamorphosis of the obsessive short initial fragments, observing their different states of existence, different possible epiphanies moving gradually from the strings to the fingerboard. On listening to the piece, the sound of the traditional instrument present in the collective memory may prove unusual, but the intention was precisely to create an instrument that would suit my compositional thought of the moment and that, paraphrasing Helmut Lachenmann, could be “original”, being linked to the very roots of the person who produced it. 

read it in French here

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