At a conceptual level, assigning the ensemble a “still life” means conferring to the inanimate material from which the musical instruments are made, a meaning and an autonomous aesthetic value, which tends to humanize what is only apparently inert. The material takes on symbolic meanings, becoming a synthesis of eternity and transience, an allegory of transitority and of corruptibility, a sign alluding to the relentless passing of time. The musical gestures, amplified and variously presented, follow an irregular rhythm that outlines a dynamic and free space, within which the multiplication of the figures explore the poetic possibilities by unveiling the enigmaticity of the real. The sense is not exhausted in the enunciation, finding on the contrary fresh lymph in the fragility of the relations that intertwine within the space of the representation. The formal construction, far from being a combinatory of a narrative type, intends to be “impressive”, allowing an inter-objective disorder of the elements used that alludes to a hidden sense. The proprieties of the materials express themselves through the “language of things”, able to provoke surprise or unease, melancholy and meditation. The musical sign thus belongs to an obscure alphabet that allows the metaphysical psychology of the objects to be penetrated. The liminary zones of sound are explored like unknown spaces of observation, which open onto new and fertile semiotic relations. Breathing, obsessively simulated by a musical gesturality shared by the whole ensemble, recreates the impression of the air that animates the pictorial still lives, defining and circumscribing the substance of the sound. And through this breathing, constant and restless, we discern the invisible side of things that through the air acquire plasticity, volume and form.