Label: Astral Spirits
Jacques Attali provided us with one of the best ways to enjoy human existence: he declared that the world should not be looked at or read, but listened to. In the last hundred years, many cultural projects have
been concerned with the "sounds" of the world, listening for new ways beyond musical instruments, benefiting from the incredible acoustic qualities that nature had given us a long time ago: stones, shells, flints or rudimentary ancient flutes are able not only to trace an aural path, that is to say, to determine our geographical position for listening, but they are also capable of providing very particular sounds, so much so as to make any experimenter or builder of sounds envious.
How timely can it be to look at the past and ancient sounds? Very, very much. Since any advance in techniques will not be able to modify the symbolic meaning attributed to music by a community, the challenge lies in knowing how to obtain the maximum result in relating sound practices light years away from each other, ultimately a period of time characterized by an apocalyptic distance. We must also think
about respect for men and their concepts of life: today science, faced with the spread of musical slavery that persecutes us, is asking for help from the arts, an ideological support useful for demonstrating hidden truths in the strength of music, sometimes allocated in tribal practices or circumstantial rites.
The conceptual idea of Viandes, the musical work played by the musicians Stefano Leonardi and Antonio Bertoni, is widely placed in the undesirable field of the consumer society: if we want to make a comparison with art, we can think of the visitors to a Paleolithic cave, who look with distrust at the places and habits of their predecessors: the vanity and superiority of their attitudes have overcome any desire to restore a dialogue, to keep alive a mediation with the past, towards what is apparently not visible.
In Viandes, ideas tend to create a communication that lives through the inanimate and opportunely solicited: improvisations (those of today as well as those of long ago) worked on traditional instruments from a part of the world or on prepared instruments that make constant reference to an implicit objective materiality, a desire to represent the musical sense of the past and to develop a tactile sensitivity to the music. It is a workshop of knowledge that takes place between the two musicians: on the one hand, Leonardi builds a series of temporal and geographical stratifications that can be connected to the exhalations: from the xun (an ancient Chinese globular flute) to the dilli kaval (a flute in Anatolian wood), from transverse flutes to Sardinian “pipes” (the launeddas, divided into its three parts, and the silittu, an obsolete flute made of elder wood); on the other, Bertoni governs the laws of friction, dividing themselves between the guimbri (traditional Gnawa stringed instrument) and the cello, played with the aim of gaining a carnal experience from the rubbing of materials.
The matter of "blowing" and the matter of "handling," intended as the main responsibility for musical creation, meet for a rare session of beauty and instrumental simulation, of energy and instincts, capable of making us experience the overflow of sounds, the rough stone (like approaching ancient quarries or the pavement of our urban road) or the industriousness of a community. They are high-profile improvisational experiments, of a universal musical current to follow, a temporal "upside down" of the sound material. In short, an apology of the future, in defense of music.
- Ettore Garzia