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REMOTA

for seven performers (Ott./Fl. in sol, Cl., Pf., Perc., Va., Vc., Cb.)
duration: 13 ’ approx.
year of composition:
1977
I perf.: Firenze, Musicus Concentus, 9.11.1977 – Ens. Garbarino
Edizioni Suvini Zerboni, Milano
(parts can be hired out)
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)




The wearisome presentations so punctually requested from authors on the occasion of a performance of one of their pieces, are the symptom of an archaic mistrust in the principle ways and means of music, and of an iron faith in words. Although responsible for some idle pronunciations and little convinced that the intentions of the composer – the only of which one might speak – are the sum and total of his compositional comportment, the author proposes Remota without any explanation.

Listening to Remota (“the things that come from far away”) is not helped, in fact, by explanations. If, on the other hand, they helped, one would have to renounce to them in any case, with the author not reminding us of anything. This is a singular fate if one bears in mind that the compositon of Remota (1977) was characterised by an extreme determination of every component (testified by some preliminary notes): characterised, that is, by hyperdetermination. Oblivion then regained everything, similarly to the fate which awaits most dreams, even though they are not at all random.

The observation of Anzaghi's compositional orbit permits us some astrological metaphors. Manifold  segni (signs) presaged the declining phase of the Ritografia ('ritography'). On the limine (threshold)  of a long night of exisestence appears a star, resplendent in the light of a subjectivity which exiled itself spontaneously into a limbale (limbal) refuge, in which to re-think the role of egofonia (ego-phony). From an ausa (spring) that was formerly arid sprang water which luminous aurore (dawns) revealed. With resurging alena (breath) a creative course of remota (remote) provenance was begun.