Beginning from a reflection by J. Cage on the new compositional modalities and methodologies makes me think that creating music at the end of this century welcomes the principal characteristics of painting at the beginning of the century and of photography. It is fixed on digital canvases, thereby losing its prerogative, that is the possibility of future re-imagining by the interpreter, acquiring, from painting, fixity, and from photography, the fixity of a movement.
To maintain this similarity, sound, more and more, is becoming color, natural or synthetic (depending on the source) and the instruments of electronic music, powerful brushes. The sound, in fact, becomes the protagonist. You write for the sound, with the sound, going through the reasons for the sound. That said, I began to work on acoustic portraits. That is, I use the voice (therefore the image, therefore the fundamental color), for example, of Marinetti, and through the sound spectrum, the timbre and rhythm of his declamations, I create a portrait. This method inspired the idea of a gallery of portraits, picking freely from poets, orators, actors, politicians for analogy or for contrast. Some of them granted me their voice for this specific purpose, others were found with the help of various archives. This sort of acoustic gallery cannot solely refer to voices from the twentieth century, but also to the great sounds of this century: the machines, the landing on the moon, the atomic bomb.