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HALPITH

for solo flute
duration: 10’ approx.
year of composition: 1984
I performance: luogo e data non ancora rintracciata
fl.: Roberto Fabbriciani
Edizioni Suvini Zerboni, Milano
available live recording
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)


With Halpith for solo flute, composed in 1984, a new compositional phase began which has been characterised  by the adoption of a numerical code – of Pythagoric tendencies – and by a style of writing that is rich in physionomical instrumental gestures, inserted into a dialectic context.

The compositional procedures are imagined projected into a symbolic context based on the idea of the 'centre'. Such a conception, in its elementaty aspects, arises from the nature of intervals, be they melodic or harmonic, which can be differentiated amongst themselves as either odd or even. In the case of even intervals, they can be divided into two intervals of equal extension, without giving rise to an intermediate or central note. But in the case of intervals that are made up of an odd number of notes on the chromatic scale, such a division is not possible since the odd number of notes does not allow for their division into two equal parts (at least in the system of even-temperament): odd intervals consent however an intermediate pitch, equidistant from the extremes of the interval itself, 'mediating' it by its 'centre'. This 'centre', thanks to its 'privelidged' position, becomes the focul point for multiple operations of evident symbolic meaning. The framework thus described is extended to the durations of the notes (whose pulsations within a unit of time may be either odd or even) and is the font for the creation of the piece.

In precedence the author had preferred dreamy and astonished moods, as testified by compositions like Soavodia, for clarinet and piano, Mitofania, for ensemble, Aur'ore for orchestra, etc.

The piece strenuously uses the skills of the performer, who must overcome the manifold difficulties of the piece in order to not remain ensnared in the virtuosic net of the compositon.