Iconica (2006)

The title I chose for this little five pieces collection is maybe sufficient to describe its features. The icon concept fascinates me, perhaps because a contact is produced with this form of art, which at a perceptive level remains in a primary phase of communication.

That research of a “basic source”, of direct perception, that is the pure presence of a basic quality separated from the thing itself, is what I tried to reproduce in this collection; according to Peirce’s words, the research of a “state which is wholly present in every moment of time”.

All that drives me towards the frustration of some musical rhetoric typologies, as the development or proliferation dynamics determined by deductive or inductive reasoning. The strength of such approaches “discloses” worlds; on the contrary the icons reveal by resemblance, shading perceptive judgments according to the abduction logic.

The five movements that compose the piece are breaths; they are sights on potential ecosystems.

The main subject is the piano, but only at the end it becomes naked, deprived of the golden and silver leafs that were previously covering some parts of it, like many saints in the 18th century.