Commission: Ensemble Court-circuit and by “Integra — Fusing music and technology” a EU-funded project led by Birmingham Conservatoire (UK).

Chi ha scavato canali agli acquazzoni e una strada alla nube tonante,
per far piovere sopra una terra senza uomini, su un deserto dove non c’è nessuno,
per dissetare regioni desolate e squallide e far germogliare erbe nella steppa?
Ha forse un padre la pioggia?
E chi mette al mondo le gocce di rugiada? […]

Who cuts a channel for the torrents of rain, and a path for the thunderstorm,
to water a land where no one lives, an uninhabited desert,
to satisfy a desolate wasteland and make it sprout with grass? Does the rain have a father? Who fathers the drops of dew? […] — The Book of Job, Chapter 38

To the eyes of the unknown authors of the Book of Job, the creation appears as an indecipherable enigma. The only one who knows its law is the engineer who establishes the weight of the wind, who counts the clouds in the sky and apportions the water by measure. This law does not seem to explicitly deal with man. No punishment or compensation for his behaviour. Rain falls in the desert too, on a land that nobody harvests. Disgrace happens to the righteous and the unrighteous. The long, scoffing reply that God gives to Job’s relentless existential questions (the short excerpt which is sung in the piece is taken from it) is made itself of questions, almost suggesting that, as Wittgenstein wrote: “when the answer cannot be put into words, neither can the question”. Le nubi non scoppiano per il peso (clouds do not burst under their own weight) deals with heaviness and fall, and with measuring what seems to have no measure. The piece is dedicated to my parents.

“An altar begins where the sense of measure ends. Being a saint means losing control, giving up weight, and weight is organizing one’s own dimension” — Carmelo Bene, Our Lady of the Turks‘

[ii-15]

Performance

  • Thursday, February 26 – Saturday, 28, 2015

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