ESPINOZA,DIMITRI GRECHI - ReCreatio (Sealed) (CD)

This CD, the second stage of the Oreb project for sax solo, is the result of my compositional thought, the fruit of my knowledge in the field of classical Western music science and other musical cultures of this planet. Each piece narrates an aspect of Nature and its creation. Compositions are defined using both modality and tonal harmony principles. I have used the method of repetition/variation of small melodic/rhythmic cells and dialogued with the reverberation of the architectural structure and the harmonics generated by it to produce, with a monophonic instrument and without overdubbing, a real polyphony. My main aim is to lead the listener through sound and musical form to rediscover that inner reverberation from which every possible music originates. The Cisternino Pian di Rota, located on the hills just outside Livorno, conceals in a building of neoclassical architecture of 1845 an enormous space, once used to collect and purify the water of the Leopoldino aqueduct. The plant is rectangular with two semicircular exedras placed on the short sides. Two colonnades support a series of vaulted ceilings and divide the reservoir lengthwise into three naves and transversally into five. A gallery, built about halfway between the base of the tank and the vault, allows you to cover the entire internal perimeter. In a first visit we checked the feasibility of recording, listened to the natural reverberation of the building and chose the placement of microphones and direction. For safety reasons it was not possible to get inside the tank, but the height of the gallery was congenial to our needs for recovery. Dimitri chose to play in the semicircular exedra on the right side of the entrance. We immediately noticed the different reverberation that was produced by moving away from the sound source: modulations that became more and more evident as the distance from the source increased, probably these modulations were due to the parallelism of the structure and the standing waves that were produced. So we decided to use eight microphones for recording. A wide diaphragm condenser microphone for closest shooting, a small diaphragm condenser microphone for a shot about two meters from Dimitri and three stereo condenser pairs for ambient shooting: one in the first transverse nave closest to the sax, another in the central nave and the last in the opposite exedra to that of the musician. The idea that informed our choices was to respect what we have grasped the spirit of Dimitri's musical project: a single musician plays his instrument interacting with the environment that becomes an integral part of the composition and sound production. So it wasn't just a saxophone, but the whole structure became a musical instrument. Therefore, the recording attempts to capture Dimitri's music as a unique and unrepeatable listening experience out of the performance time and place where it was produced. A listener who had attended the performance would have been forced to choose a single listening point, preferring a more direct sound, close to Dimitri, to another one where the reverb would have been greater. What you listen to on the disc instead is the sum of more shooting points, impossible for a human ear: it is the sound that only an ideal listener could catch. The best possible sound to enjoy this musical experience. ReCreatio (the name indicates both a re-creation and a re-creation in the sense of the game or fun you have in creating)