The structure of this work has been deliberately split into two separate sections, respecting the already tested many-sided combination of poetry, graphics and music. Thus, the result is a unitary work, the two parts of which reflect in one another in relation to its subject: in fact, some months before the issue of this CD, a book with a homonymous title has been published, though in Italian (Intrecci del sogno, available at www.amazon.it/Intrecci-del-sogno-Saverio-Tesolato/dp/8892330225
, also in e-book format).
As a matter of fact, it was my oneiric activity during summer 2014 that led me to the realisation of this project: in particular, two were the dreams my memory could perfectly preserve soon after the awakening, so that I initially sketched out, as roughly as possible, the most relevant oneiric images, such as my mind was instantly able to reconstruct them. Surprisingly, the final result was a real narration of these dreams in form of two tales, due to a sort of a detailed backward analysis – sometimes very hard to realize, when not even agonizing – of the images my brain had jealously decided to preserve. Since then I find it absolutely natural to create several musical counterparts to each oneiric representation, in order to link text and music together: as a matter of fact, even though the first compositional structure to be chosen for both dreams was the cello-piano duo (often constructed as a sort of a ''match'', a game played by two sides), it was clear that new forms were designed to follow the first one, with the aim of ensuring some varied visions and multi-sided interpretations, emerged more and more strongly during the writing of the two tales. So from each dream four tracks have been generated, each one having a different form of composition: to be more precise, the two original cello-piano duos have been the basis to build the further three forms, as if they were “sons” of a “father” from whom they carefully retained an unstable leitmotiv; afterwards, two compositions for female lyrical vocals, cello, percussion and electronics were created; then, I could not yield to temptation of the piano improvisation, which fascinated me so much that I decided to boost the improvisational practice – already developed in the recent past – by working with alacrity on string piano techniques (enriched with a personal touch, by using several tools to play with) and electronic sound processing, in order to assemble a pre-recorded track, finally used to play a synchronized live keyboard piano part; lastly, I directed my efforts towards the composition of two duos a cappella (for soprano and mezzosoprano), able to maintain a structural continuity with the previous tracks, and even deepening the conceptualization of the whole work.
In addition, some images have been created so as to naturally complete the work – on the supposition that it can really have this kind of achievement… – and used to accompany the text of the tales, in order to try to evoke the most significant images in the dreams.
The topic of dream (and of its reality) had been discussed since the beginning of the 20th century thanks to the works of Sigmund Freud on psychoanalysis, which was mainly focused on the elaboration of scientific methods of interpretation of dreams; later, Surrealists have designated dream as a fundamental law of the spirit, i.e. a place where the unconscious discovered by Freud can lead to uncontrolled manifestations, and where you can have a proof of the irresistible truth it embodies and realize that it is the privileged channel of communication between life on Earth and the afterlife. This is one of the innumerable reasons why I felt obliged to start composing music for (those) dreams: in fact, so many times in the past there has been music inside them, both as background music, and in other forms, for instance, as a result of playing instruments in dreams. After waking up from the dreams I have told about here, no sonic memories have been saved, no kind of sounds: but this does not imply that no music was really in them. As a matter of fact, it is just thanks to the above-mentioned backward analysis that I could write several pieces of music for each dream, whose compositions have been surely influenced by sense and sensitivity. In any case, it has also been an effective (and powerful) means to interpret these visions, to try to understand the past, to give future a deep meaning.
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