The sound of the harp does not stop time, it renews it. It does not restate the folk lies of the territories, but it filters them and makes them live again. In my vision the acustic sound must come from extremely far away (therefore it must be a remote sign) as well as from very near (from within, from the heart). It is the balance between these sides that defines a passage through the centuries; indeed the harp, instrument already played in Mesopotamia, divides the millennia. For a long time I have been linking my research about time dynamics of romantic sounds with space dynamics inspection: I have been selecting and studying traditional celtic pieces, bringing to light everything that reveals the celtic abyss, the spiritual space opened on the void, associated with "court" sounds, similar to contemporary French experiences. The celtic culture offers truly extraordinary as well as melodious material. I performe this insular and fluctuating cultural heritage live with particular attention to the melodies, not hiding the rhythmic part, the military-"bellicose" march that surfaces now and then.
posta