CANZONE III

The novelty of this linguistic experiment, compared with previous ones, was that it integrated not only the phonetic level, but also the syntactic level, with each principal function (subject, verb, predicate, etc.) corresponding to a type of writing (for example: clouds of sound dots, trills, punctuation, etc.). Durations, tempi, intensities and sound colours are also derived from the text using complex anamorphic processes. The initial state resulting from the strict application of the imagined rules was then freely reworked to highlight its expressive possibilities. In order to test the degree of abstraction and, at the same time, its specificity, the same scheme was used for another work, Canzone IV for 5 voices a cappella; in both cases the work is part of a spirit that is both decorative and experimental, with the ambition of competing in some way with poetry on its own ground.
As for the model, it was chosen for its exceptional structural value, with very subtle alliterations, chiasms, partial asymmetries, repetitions and parallels that are already a kind of music, once the meaning has been bracketed.