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EGOPHONIE

for chamber orchestra
winner of the Composition prize “G. F. Malipiero” of Treviso in 1974
degree of difficuty: medium
duration: 13’ approx.
year of composition: 1974
I performance: Milano, Angelicum, 3.2.1975 - dir. M. Panni
Edizioni Suvini Zerboni, Milano
(the parts can be hired out)

(2.2.2.2. - 2.2.0.0. - Pf. - Vibr. e Xymar. [1 es.] - Tp. – 1 Perc. [3 Trg., 5 Tbl., 3 Wbl., Tamb., 3 Ps.,
3 Tt., Cp., 4 Bg., Glock., Crot., Gc., Hihat, M., Mr., 3 Campanacci, Tab., Tot., Cv.] A.: 11.0.4.3.2.)
or:
(3.3.2.2. - 2.2.0.0. - Pf. - Cel. - Vibr. and Xymar. [1 es.] - Tp. - 2 Perc. [as above] – A.: 22.0.8.6.4.)
A live recording by Radio France is available
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)




The title of this piece points to its most subjective nature. Egophonie could as well translated as 'Sounds of Ego'. Nevertheless, this piece is not to be labeled 'expressive', as the term is commonly understood, be as it may a vessel brim-full with the run-off of the Ego. Two aspects define this piece: the control of the 'pressure-valves' that the imagination bursts forth from, and the recourse to non-emphatic facets of the 'rhetoric' that is chosen to give voice to the Ego. If Egophonie is a running-off for the liquid Ego, if the mouth of the river is a ramified delta, how may we speak of an effusive Ego if there are many courses that channel its flow?

In composing this piece the author realised that the writing was dictated by subjective instances but that, by the same token, other instances pushed it towards formalisations that might balance its effusions.

The pieco opens with a subliminal acousticness which flutters perplexedly between nocturnal quivers auroreal vibrations. The suffused initial sonority rises from silence and prolongs itself until the end of bar 12. Beginning with bar 13 the sound-pattern becomes vibrating and frenetic, but a frenzy as of wings beating the air, or of the rustling of leaves. These latter sounds are filtered by an Ego which draws them in as a quiet acoustic. The following writing becomes ever more rippling: fibrillations of sound, parossistic palpitations and silent pantings pervade it. All of this takes place in the 'centre' of the composition. Afterwards, sound-ghosts rise up, rebel, and draw themselves up in plastic events, soon to be re-absorbed by the primordial silence. The Ego of this piece whispers its own presence with discretion.

The piece has no conclusion, rather an interruption. Only the optimism of the will can presume to pose and end to anything.