Consolation

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Let us set to listen, let us look inside ourselves and we will find that simplicity that will make us appreciate a life free from the frenzy of everyday life. Only then we will hear that “leitmotiv” on which we could build a simple life that will make us sense the true greatness of creation by focusing on the small things such as a stone, a plant or a gaze.
Maybe we’ll be able to “feel” the essence of the divine plan’s beauty.
From the simple notes of a piano we will catch a full orchestra of sensations, without needing intermediations. In times of discouragement, in whatever direction we look, we’ll be able to find a little flame of “consolation”.
A simple musical phrase, composed of a chain of mostly quavers, emerges timidly, but with increasing clarity, from a blend of sounds resulting from a descending flow of two-note chords where the interval of fourth prevails. The initial rhythms, disjointed between the two hands, recompose immediately, moving from modal-like sonorities to placidly tonal harmonies.
Over the almost resigned reiterated proposition of this model, a long series of embroidery and melodies is built, sometimes new and sometimes echoing the initial descending flow. The increasingly dense counterpoints culminate in fanfares, but then end. From these echoes, the stubborn melody emerges again, with new embellishments and with the awareness that “the whole” is based on it. It is so strong that it can carry on its shoulder even the introductory cascades, which are almost alien to it, harmonically. It wins and eventually takes its leave with a clear serenity.
It is an orchestral piano that draws on all its resources to express sonorities that seem to want to exceed the physicality of the two hands.