Sonanze

The need to write inside this album does not mean wanting to 'explain' it. That would be a utopian and meaningless task. Instead, it is an effort to help understand its complex place in music, clarifying where it comes from and what it aspires to be.
The first real contact lies in the title, 'Sonanze' (Sonances). In my opinion, it shows a work at the crossroads of two musical structures. The first is ASSONANZE (Assonances, harmonies, tonality), generally driven by emotion. The second is DISSONANZE (Dissonances, atonality, the breaking force of classical traditional structures). This second structure was very useful 'in its time'. I say in its time because I believe that so-called 'modern' music has grown old, and 'Sonanze' is meaningless today. It has become 'traditional', a challenge against too much atonality, and too many aesthetic and limiting problems for a subject that should be taken and shaped freely. This freedom is essential to reach the maximum intensity of the creative process, going beyond techniques, which are the only real obstacles between the listener and the author.
Unfortunately, I am aware that I am a few millennia late compared to how I would like music to be understood. Today, I find music diluted in its primary powers, in an era that destroys essential values. Precisely for this reason, I want to look for music in its depths and not on the surface, perhaps alternating the knob of a synthesizer with a jaw harp.