The need to write on the inside of this album does not signify a need to “explain it”, also because it would be both a utopian and senseless task, but rather to help individuate its difficult collocation and clarify its origin and aspirations. The first concrete contact, I believe, resides in the title, SONANZE, indicative, in my opinion, of a work that finds itself at the crossroads of two musical structures: one (ASSONANZE, harmony, tonality) dictated in genre by sensibility; the other (DISSONANZE, atonality, destructive force of the traditional classical structures), useful “in its time”. I say in its time because I think that the so-called “modern” music immediately undergoes an aging process and Sonances of nonsense and that in this day it has become “traditional”, that is it challenges the too atonality, too many aesthetic and discriminatory problems for a subject that should be taken and liberally manipulated towards the limits of the maximum intensity of the creative process, beyond the technical, the only real element of impediment in the relationship between listener and author. I am aware, unfortunately, to be late by a couple of millenniums with respect to how I would like music to be intended and that in this day and age I find it diluted in its primary powers, in a time period that destructing essential values. For this very reason, I want to search deeply and not superficially for it, possibly altering the knob of a synthesizer to that of a marranzano.
Remastering: 2000 - Abbey Road Studios