In Part I of the execution the process is the same as the Epic folk: first appears the theme and then an improvised narrative development. My knowledge of ancient instruments like l’Hud, Saz, çifteli, Def, Dajre, Kavall flute allows me to carry and translate this kind of sound through the piano, making and restoring the intention of the chant. The themes I work on have minimalist repetitive character, but also extended, directional and emotional. The multirythmicity moments (as 3 + 2/8; 7/8; 9/8; 5 + 7/8 rhythms …) are proposed to evoke the ritual moments.
The Part II is for prepared piano: the focus shifts to the piano strings, that integrates the keyboard, and also I use a B minore gong and a electrified Calimba in live electronics. Using the piano strings, I compose micro themes in just intonation. The use of a bow on extension cords, refers to the simple principle of the Pythagorean harmonics division. The strings are in tune with the advanced (and in the meantime ancient) harmony “sus chord”, and enriched with repetitive rhythms, circular, until the silence comes.
The intention by using the strings is to integrate any possibility of expression carried by the piano: it amplifies every part of the resonant sound box. I always maintain contact with the chant (the same chant of the mother to her child) by opening new horizons; because I think it is a fundamental component of the human being in transformation.