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Works

Oscar Bianchi
De rerum natura (2001)
for Flute, Violin and Electronics

In the first section a primigenial cells arises from the flute, and offers oneself in atavic and irrefutable mode thanks to a proverbial mobility announcing sound's immensurability as a sempiternal element, physiological connoted, although substantially imperishable. The consequent geneses of other outbursting particles, when becoming subsequent musical episodes, expresses that idea of infinity, of mutable existence, but of eternal destiny, made of continuous and iridescent surprise. During the evolution of these processes we watch a sort of mobility, where the sound seems to enjoy physiological characters; that's why the phraseologic arcades appearing while listening, take advantage of an often infinite trajectory, of a birth-life-death dimension. While living, breathing and answering the sound creates brilliant refractions, as in the central section where sound mingles sometimes with the gesture, sometimes with the noise (flute Aeolians suspended by two-stringed violin harmonics). The last section bears what the dynamics, subtending the De Rerum Natura relations, seem to arise from the dialectic between crude expression and close calculation; this last palpable rational data, vehicles something ineluctable, becoming sublimed. A motionless nearly Hegelian breath is present desiring to give this flashing experience to the man. De Rerum Natura is dedicated to Annamaria Morini and Enzo Porta. To the mobility and richness of their figures this work has been dedicated.