ROSE DE JERICHO – Lorenzo Piantedosi
14.90€ IVA incl (-34%)
- AUTHOR: LORENZO PIANTENDOSI
- ISMN: 979-0-805447-37-7
- LEGAL DEPOSIT: M-3904-2023
- PAGES: 36
- EDITOR: AdolpheSax Editions
- COMPLEMENTARY MATERIAL: NO
- LANGUAGE: English
- SIZE: A4
- FORMAT: PDF
This piece gets its inspiration from a really peculiar living thing: the rose of Jericho. With this name I am actually referring to two different plants, Anastatica hierochuntica and Selaginella lepidophylla (which is also known as the resurrection plant). Both of them have developed really interesting strategies to survive through prolonged drought.
I’ve always been fascinated by the poetry these plants express, but there is also an emotional bond, because my mother helped me discover these beautiful plants.
Over the years, she has established the habit of watering our little rose (Selaginella lepidophylla) when me and my sister come home. The plant can stay without water and be closed for really long periods, showing itself as a dry ball of tangled sprigs apparently dead. But when you give it with a bit of water, it opens out and shows you the life it has preserved so patiently.
This dichotomy inspired me. So rough looking, closed and dry, an apparently dead object that hides such gentle values: renaissance, patience, care and the capacity of preserving something for so long.
Inspired by this I gave a dualistic nature to the music and I shaped the narrative moving between kindness and a more harsh temper.
The piece starts from a really contemplative space where the baritone has a clear evocative role. This first panel is almost like a prayer that leads us to the poetry of a bare chant assigned to the alto.
At the beginning of the composition, as later on, there is a wide usage of a minimalist approach.
Different musical languages are connected to create a dialogue between the two natures I wanted to express. Music moves from modal minimalism to spaces of harmonic research, then chromaticism takes over until we perceive the rough heart of the piece and this at a certain point brings us into polytonality. That mostly happens in the middle part of the piece, where the baritone lines of the beginning are displayed from a different prospective.
Many passages are written using uncommon intervals to create chords that define certain aesthetics. As well as this approach, there is also a large application of techniques coming from the world of big band jazz orchestration. However, these techniques are employed in a personal manner that refer much more to the European music of the last century and they converge to create the aesthetics of a specific and personal language.
All this musical material is put together and organized in a really organic way, giving the piece a defined narrative form. Despite the use of many dissonances and chromatic harmonies, thematic parts clearly emerge. I would say I deeply love both characters of the composition and I also think that when looking further into the music, what predominates is the power and poetry of chanting.
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