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for piano solo
work winner of the XVIII Competition of Pianistic Composition
of Treviso,1971
degree of difficulty for the orchestra: medium-high
duration: approx. 10'

year of composition: 1971
I perf.: Treviso, Teatro Comunale, 17.11.1971 - pf. B. Canino
Edizioni Suvini Zerboni, Milano
available the CD live recording by B. Canino
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)

Bruno Canino

Ritografia, which is chronologically adjacent and successive to Segni, proposes a series of musical routes that are alien to any predetermination. It accedes to formal solutions that were inspired by maximum momentariness. In Segni, the form took on direction. The theme-episode was constituted by a flow of single notes (a kind of perpetual motion in the mid-to-lower register), which progressively evolved towards synchronies, initially consituted by two simultaneous notes. The synchronies then became, gradually, of three, four, five and more notes, breaking out into a terminal synchrony of the greatest possible thickness. At the end of the piece, the gradual impoverishment of the flow of single notes come at a stage in which the seperate notes came to be absent in favour of synchronies only.

This type of formal development, which is intentionally given direction, is absent in Ritografia. In this second piece for piano, signs are not intended as representations of sound (of a sound which was therefore imagined before the signs), rather as a propitiatory gesture to accede to a sound world that was not imagined beforehand. A gesture in which one might discern the stimulus for using formal solutions that are unrestricted by any intentionality. Formal solutions that spring from the writing itself, and in this way become a rite for evoking other sonorities and unexplored acoustic slopes. The title testifies to the process herein described.

In the erratic blue-print of this piece, there are moments of great ecstasy, during which an harmonic technique is used that had never before been explored. Complex harmonic forms were used which are made up of segments of cluster chords used simultaneously with real 'chords' in a more traditional sense of the word. The sum of the two components (the cluster and the chord) still sounds like a chord, but is richer and more complex, with a new sonority. No annihilation of the chord takes place on account of the cluster's presence in the synchrony, which assumes a richer resonance.