Eolian Fairies -
The Obsidian Symphony, is an ambitious
orchestral composition born from the creative
mind of M.V.Pogliaghi in search of enchanted
melodies and pure sounds. Eolian Fairies came
from two years of hard work, research, in-depth
study, orchestration, arrangement and, let's
face it, joy and suffering. Because writing
music is like lighting up with hope and setting
off to climb the peak of an unknown mountain
added to the frustration of not knowing if you
will be able to reach it.
"Music does not come from computers, but from the author. Someone thinks that, since now everything is done with the most advanced DAW software, it is enough to press four keys to produce music and that the computer does everything else. Well, then it means that a beautiful photograph comes from the 24Mpixels camera you used! To believe that, if a photograph taken with an ultra-powerful camera will undoubtedly be a beautiful photograph, it means completely excluding the artist from the creation of a work. IS the photographer, his ability to compose the image, his intuition in capturing the light and also the randomness, luck and inspiration of a moment stolen from life that make a photo a beautiful one. And, if it is good for the photographer, why should it be different for the musician? Why should it be different for the writer? Or maybe someone thinks that a good novel is a good one because of the latest version of a well-known word processor?"
In "Eolian Fairies" I tried to convey ideas and create the so-called free music, that music that is not punished like a soundtrack from scenic times or pigeonholed into the scenic pathos that the theatrical representation or film must represent. When you write a soundtrack you are greatly facilitated by the scene because all you have to do is write music that supports it, that surrounds it and wraps it like a shroud. While it won't be particularly beautiful and sumptuous, it will stand up because the work it has to hold is in itself something that already empathically works. And the proof is that, apart from rare exceptions, any soundtrack detached from the context evokes very little. To make a simple comparison, if you have to make a frame of the Mona Lisa, you don't have to spend too much on it... four pieces of blank wood are good. And a frame without its painting is almost useless.
Otherwise, "free music" must stand and stand by itself. It has to tell a story, in its entirety, without holds, without the moral and material support of an actor, of a scenography, of a shrewd joke. And finding all this within oneself is not at all easy. Most of the time you find yourself dealing with moments in which nothing works, does not turn, does not take the right rhythm, the right pathos, the right emotional dimensions. And, when we talk about arts, the most important thing is the emotions they arouses. Music is emotion, a painting is emotion, a story is emotion ... in short, if you don't translate your art into emotion, you have failed!
Note: Eolian (or Aeolian) is not entirely referred to something aerial, but also and above all to the "Eolian" scale which, in this composition, has been decisive for most of the main themes. The attentive and expert listener will discover that the structure given to the main themes is that typical and characteristic of the Aeolian scale (sometimes erroneously called Aeolic), a diatonic or natural minor scale in which the harmonic succession is TSTTSTT ...
"First Journey" is the first track of this musical adventure. Lasting about 25 minutes sees the presence of children's choirs, acoustic guitars, orchestra and solo instruments. The adventure begins in a storm and a fire and after an almost mystical atmosphere created by the skilful touch on the strings of the classical guitar, we reach a solar central pivot in which cellos, french horns and three acoustic drums sustain a rhythm full of light and expressive power. Then we arrive at the second part in which flutes and strings, playing chasing each other, explore arias that evoke the spell of the journey, dreams and hopes of humanity. Suddenly we arrive at the thunderous final in which the children's choir overwhelms the orchestra as if in search of a breath of freedom, a flight in which the dream acts as a catalyst for the beauty and the will of man to rise again and rediscover the own serenity.
(This composition is respectfully dedicated to the memory of little Vyacheslav "Slava" Minachev (2008-2021)).
Achoustic Guitars by FABIO DEL SORDO
|00:00||The Fire and the Storm|
|03:55||Last Flower of Andimians|
|10:25||Riders of Denoridhàn|
|16:49||Engethaar and Galkhesia|
|19:41||The Obsidian Temple|
It all begins with a bright light, a pizzicato strings that rhythmically marks the time. It is the beginning of "Forever Young", a small reminder of lightheartedness, simplicity, joy. The circle that is recalled by the title of this composition is told by the succession of notes that trace a carefree, at times thoughtful and reflective theme. Now it is the viola that reigns supreme, alternating fairytale moments with clear tensions, ancient stories and colors hidden in memory.
"The Dance of the Bells" is self-explanatory since in a few simple bars it makes the sound of bells and tubular bells heard flanked by a piano that is used almost like a chromatic percussion, even if its basses are a solid accompaniment to the orchestra. Everything seems to unfold with carefree, but then the string trill leads to a more evening, more reflective musical moment.
"Winter Words" and in particular "Snowflakes" tell the moment when, the arrival of winter, the flight of snowflakes, slows down the rhythm, muffles the sounds and calls for reflection and silence.
|04:37||The Secret Path|
|05:46||Mother of Fallen|
|07:15||Dance of the Bells I|
|08:32||Dance of the Bells II|
The part "Cello Waltz" is a shadowy symphonic waltz (B flat minor creates a decidedly dark and anxious atmosphere).
The composition rattles off on a primary theme with sounds that recall settings of the Russian steppe, vast lands sculpted by the wind. The undisputed protagonist is the cello, which has always been considered one of the warmest and most melancholy sounding instruments in the orchestra. The infallible dance of the 3/4 and the counter-theme that almost quarrels with the main theme, visually accompanies this piece that leads to a long central pause where the plot thins out becoming a dark emanation in which winter themes and spring colors are mixed.
The emotion then drags up to the entrance of the bassoon which, taking up the main theme, announces the solo of the cello. This time, exasperated by an almost alarming, angry and tense pathos, the "Cello Waltz" then flees towards the brusque, brilliant yet tormented orchestral finale that closes the piece leaving almost a sense of incompleteness.
"I was walking in the park, when suddenly the theme of this waltz came into my head. It will seem crazy, but in order not to let it escape I ran home humming it and conducting the orchestra in my head I saw the musicians performing it, the cellist daring to solo... I went into my home and for two days and two nights I don't remember if I ate, drank or slept ... the important thing was that that waltz was written, those magical notes undoubtedly coming from God, were fixed on the pentagram".
|00:00||Dance of the Fairies|
|05:27||The Sorceress of Oythe|
|06:52||The Fairy Son|
|09:49||Perception and Escape|
Four dances, with different characteristics, romantic, bright, brilliant and all with the intent to communicate the dream.
The opening song is "Ash'a Dwr" (in gaelic, ash and water), which begins by resuming the downtempo of the previous song, but then transforms by bringing back the colors of spring as if to show that winter fades to first ray of sunshine. The sober guitar by Fabio Del Sordo illuminates the scene with dreamy notes, and leads to the 2nd track of the collection: "Escape".
It speaks precisely of this, of an escape, of a romantic escape in the wind, during a dance step and when the delicacy leads to the rhythm marked by the strong strings and the chorus of cellos that slowly reveal an explosion in which emotions invades the soul and the dance is unleashed in a commistion of passion and mystery. Everithing ends with a dreamy and poignant, but rather short, viola solo.
"The Kiddish Jokes of Aryna" is a short danceable joke, a nice 6/8 that smiles at life like a little girl who teases as children: bassoon, clarinet and english horn recall each other by playing with the main theme that suddenly comes out with a trill of violins and the flute. They seems to jump from side to side as if it were running away from the other children.
In the end, "Strathgarr Gigue", an intriguing jig where violin, viola and english horn dominate the theme with the usual bickering as if they want to take over and be the instrument to say the last, until the arrival of the rhythmic parts and the orchestra that, together, give pressure, color and strength to this unbridled dance with a marked Gaelic aftertaste.
|The Kiddish Jokes of Aryna||02:44|
The part is titled "Mountains" and is a composition entirely dedicated to Alpinists from all over the world. The musical ensemble seems to tell the preparation of a demanding climb, the description of a mountain environment in which the mountain itself writes the history of men.
The presence of children voices, solo and choral voices from the Czech Boys Choir, orchestral and solo instruments such as the flute, violin, cello and the inevitable glockenspiel tell the story of this departure. An uncertain departure, full of doubts, fears and even hopes. Suddenly, however, the decisive presence of french horns and trombones which, combined with the timpani and the strong snare drum, in the middle of the work urge the Alpinist's soul with an exciting crescendo to continue, to force the step, to resist.
Then, when the atmospheres changes as you get closer and closer to the top, the music is broken by new emotions, stuck in the choice of continuing to the top or retracing the steps. Here the artist intervenes with an unmissable very intense final stretch: a 6/8 of drums (played by Pogliaghi himself), and the electric guitar of the majectic solo by Fabio Paggi.
It is pure energy. The two musicians, who had already played together in the "Viziodiforma" group, merge in this phase an extraordinary progressive style that tells the yearning of the summit, the panorama, the rough training ground of life that one encounters every time one reaches the Sign placed on each peak, a search that leads us to find within ourselves the limits of our existence and the needs for an answer to a question that only the Mountain, the eternal teacher, guards.
|01:55||View from The Hill|
|07:01||Land of The Gods|
|10:14||Carillon of Love|
|10:35||This is the Dreaming|
The closing track of the opera, "Spaceflyers" is dedicated to Jurij Gagarin, the first man in space, and begins with a combination of two piano obsessive chords that marks an apparently stable rhythm over the celtic harp. In reality, the two instruments intersect and are grafted into the main theme of the entire work, a sequence of nostalgic notes that had already been heard in "Mountains" and "First Journey".
This anxious and romantic rhythm finally leads to the tormented finale in a masterful crescendo that flows into a mixture of orchestral sounds and blend almost to become noise. A deafening noise, a musical propulsion that pushes men towards sidereal heights and beyond.
"Avenue of Time" is a subtle piece that acts as a curtain for the opera. Under the aegis of the synthesizer, the orchestral instruments appear as protected and accompany the theme, sweet and elevated, towards the conclusion in which the cello tells a passionate theme for the last time. This particular track is dedicated to the crews of the Challenger and Columbia, forever navigators of the cosmos, dreamers of infinite space.
|Spaceflyers (to Jurij Gagarin)||07:06|
|Avenue of Time||04:19|