Filippo Davoli, Ludovico Peroni, Quick Response Orchestra - Ludovico Peroni: Il Sognatoio, Experimental Opera in 9 scenes (2020)
BAND/ARTIST: Filippo Davoli, Ludovico Peroni, Quick Response Orchestra
- Title: Ludovico Peroni: Il Sognatoio, Experimental Opera in 9 scenes
- Year Of Release: 2020
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 00:46:53
- Total Size: 229 mb
- WebSite: Album Preview
Tracklist
01. Il Sognatoio No. 1, Fine (Experimental Opera in 9 scenes)
02. Il Sognatoio No. 2, Sei la neve (Experimental Opera in 9 scenes)
03. Il Sognatoio No. 3, Nascondino coi fiori (Experimental Opera in 9 scenes)
04. Il Sognatoio No. 4, Pupo di Bestia (Experimental Opera in 9 scenes)
05. Il Sognatoio No. 5, Intermezzo (Experimental Opera in 9 scenes)
06. Il Sognatoio No. 6, Ipertimesia (Experimental Opera in 9 scenes)
07. Il Sognatoio No. 7, Notte e Nebbia (Experimental Opera in 9 scenes)
08. Il Sognatoio No. 8, Macinello (Experimental Opera in 9 scenes)
09. Il Sognatoio No. 9, Inizio (Experimental Opera in 9 scenes)
There is a boundary in one’s fearful mind; once crossed, it does not allow us to distinguish clearly between dream and reality, grief and joy, hate and love. The atrocious pain of those deported in the concentration camps drags us, through the violence they underwent, inside a gigantic and apocalyptic Babel tower made of voices and sounds. Here the linear paths of a temporal form and the normal ingredients of musical narrative mix with each other, are shaken and deformed, creating a blinding journey, one which is unpredictable, and, at the same time, both clear and dirty, both hellish and heavenly. Il Sognatoio by Ludovico Peroni is precisely this.
In order to travel this itinerary, his musical writing needs to employ diverse techniques, which are constantly seeking a precarious balance between composition and improvisation; he also needs to create, together with his travel mates, a deep complicity in the construction of the project. Peroni steers this powerful Ship of Fools using a white-hot and continuously boiling musical matter, which is always ready for a change of direction, and is never circumscribed within a defined language.
This entire imaginary journey starts from Fine (“The end”) and arrives to Inizio (“The beginning”) – as if it were a cryptic initiation process inside an overturned labyrinth. Curiously, this journey includes a few luminous aural islands full of surprises and of subtle hope, even though they are immersed in the grief of Notte (“Night”) and Nebbia (“Fog”) – via necis, via nubis –; these islands are similar to those flashes of interior light that apparently accompany those condemned to death when they are led to the firing squad.
In these flashes of light there survives the taste of a song, the flowing of a time full of sun, which is however ready to disintegrate when it travels on a different thought, which violently surfaces during the itinerary. In fact, there appears an infernal Nascondino (“Hide-and-seek”), between the voice of hate and death on the one hand, and the clarinet’s deep and shooting sound on the other; it leads us, through a further door, to a kind of “dissonant circus”, hysterical and incorrect, blunt, unreal and funny: the Pupo di bestia.
We now enter a delirium with a cinematographic nature (Intermezzo); later we land, through a sinister regularity of dissonant bells, on the terrible game of the obsessive and compulsive hyper-memory of Ipertimesia. This actually becomes a rhythmic memory, an irregular tic of the mind, agitated by stuttering. However, in an island of playful death (Macinello) there suddenly appears a refined and learned circular construction, with a great sunny and meditative atmosphere, which progressively transforms into a hypnotic and turbulent vortex, and then returns to the calm and luminous shores of the beginning.
The finale (or rather the Inizio) surprises us once more and invites us to listen to an ancient rite intoned by the instruments – or perhaps by mysterious voices – at a sidereal distance. It seems like an immaterial procession beyond the sky, which closes, without any answer, this surprising dream.
01. Il Sognatoio No. 1, Fine (Experimental Opera in 9 scenes)
02. Il Sognatoio No. 2, Sei la neve (Experimental Opera in 9 scenes)
03. Il Sognatoio No. 3, Nascondino coi fiori (Experimental Opera in 9 scenes)
04. Il Sognatoio No. 4, Pupo di Bestia (Experimental Opera in 9 scenes)
05. Il Sognatoio No. 5, Intermezzo (Experimental Opera in 9 scenes)
06. Il Sognatoio No. 6, Ipertimesia (Experimental Opera in 9 scenes)
07. Il Sognatoio No. 7, Notte e Nebbia (Experimental Opera in 9 scenes)
08. Il Sognatoio No. 8, Macinello (Experimental Opera in 9 scenes)
09. Il Sognatoio No. 9, Inizio (Experimental Opera in 9 scenes)
There is a boundary in one’s fearful mind; once crossed, it does not allow us to distinguish clearly between dream and reality, grief and joy, hate and love. The atrocious pain of those deported in the concentration camps drags us, through the violence they underwent, inside a gigantic and apocalyptic Babel tower made of voices and sounds. Here the linear paths of a temporal form and the normal ingredients of musical narrative mix with each other, are shaken and deformed, creating a blinding journey, one which is unpredictable, and, at the same time, both clear and dirty, both hellish and heavenly. Il Sognatoio by Ludovico Peroni is precisely this.
In order to travel this itinerary, his musical writing needs to employ diverse techniques, which are constantly seeking a precarious balance between composition and improvisation; he also needs to create, together with his travel mates, a deep complicity in the construction of the project. Peroni steers this powerful Ship of Fools using a white-hot and continuously boiling musical matter, which is always ready for a change of direction, and is never circumscribed within a defined language.
This entire imaginary journey starts from Fine (“The end”) and arrives to Inizio (“The beginning”) – as if it were a cryptic initiation process inside an overturned labyrinth. Curiously, this journey includes a few luminous aural islands full of surprises and of subtle hope, even though they are immersed in the grief of Notte (“Night”) and Nebbia (“Fog”) – via necis, via nubis –; these islands are similar to those flashes of interior light that apparently accompany those condemned to death when they are led to the firing squad.
In these flashes of light there survives the taste of a song, the flowing of a time full of sun, which is however ready to disintegrate when it travels on a different thought, which violently surfaces during the itinerary. In fact, there appears an infernal Nascondino (“Hide-and-seek”), between the voice of hate and death on the one hand, and the clarinet’s deep and shooting sound on the other; it leads us, through a further door, to a kind of “dissonant circus”, hysterical and incorrect, blunt, unreal and funny: the Pupo di bestia.
We now enter a delirium with a cinematographic nature (Intermezzo); later we land, through a sinister regularity of dissonant bells, on the terrible game of the obsessive and compulsive hyper-memory of Ipertimesia. This actually becomes a rhythmic memory, an irregular tic of the mind, agitated by stuttering. However, in an island of playful death (Macinello) there suddenly appears a refined and learned circular construction, with a great sunny and meditative atmosphere, which progressively transforms into a hypnotic and turbulent vortex, and then returns to the calm and luminous shores of the beginning.
The finale (or rather the Inizio) surprises us once more and invites us to listen to an ancient rite intoned by the instruments – or perhaps by mysterious voices – at a sidereal distance. It seems like an immaterial procession beyond the sky, which closes, without any answer, this surprising dream.
Year 2020 | Classical | FLAC / APE
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