One of the most important names among the established guests participating in the 8-day long festival program of the MBZ is Ivan Fedele, the most famous contemporary Italian composer and current Art director of the Music department of the Venetian Biennale. Based on the commission of the MBZ, Cantus Ensemble and the Icarus Ensemble – who collaborate for almost 20 years and mutually complement each other – Fedele composed a new piece X-Tension II. It will have its world premiere in Lauba on April 8th, in the performance of the ensembles Cantus and Icarus.
The repertoire includes three Fedele's compositions: Arcipelago Möbius, Immagini da Escher and Mudrā. Created in 2004, Arcipelago Möbius is a composition for a special setting: the string trio accompanying clarinet contains a violin, a cello and a double bass. Just like composition Immagini da Escher, Arcipelago Möbius reflects the composer's fascination with mathematics, geometry and figurative principles. As the title suggests, it refers to Möbius, a German mathematician, and alludes to his famous “ring”. This is why the entire work leans towards a cyclical form that disintegrates the linear perception, the notion of a beginning and an end, forming and ideal continuum of intermingling figures or timbres.
Immagini da Escher follows Escher's interpretation of Möbius's principles founded on the “big” reflected in the “small”, similar to fractals and their indefinite reflection of the „whole“ in a detail. The composition, created as a comment on Arcipelago Möbius, draws an abundance of imaginative suggestions that transfer the geometrical and figurative meaning to the esthetic and poetic dimension of sound. The dialectic of the work is created by their fusion and disintegration, a form in continuous transformation actually conceived without a beginning or an end, but rather simply as a series of instances of a continuous flow.
Mudrā has been written for thirteen instruments and it refers to the etymology of its title. „Seal”, “sign”, and “symbolic gesture” are some of the terms further developed into ritual elements out of which Fedele formed three parts of the composition as three 'sonic sculptures'. The compositional processes, therefore, favor formal practices closer to anamorphosis than to metamorphosis, displaying their intrinsic qualities to the recipient, the qualities often unavailable to human eye due to human one-way perception.
Photo: Ugo dalla Porta