Patrizio Esposito (1960-)
"D'amor la vechia canzone", pour clarinette, violon, violoncelle, piano et électronique
"Resonating Body", pour flûte à coulisse, clarinette basse, violon, violoncelle, piano et percussion
"While", pour flûte, clarinette basse, violon, violoncelle, piano et percussion
"Nacheinander", pour percussion

Ensemble Interface

Bettina Berger, flûte, flûte à coulisse
Andrea Nagy, clarinette, clarinette basse, flûte à coulisse
Daniela Müller, violon
Christophe Mathias, violoncelle
Anna D'Errico, piano
Yuka Ota, percussion

Patrizio Esposito, direction

“Shut your eyes and see. Stephen closed his eyes to hear his boots crush crackling wrack and shells. [...] Exactly: and that is the ineluctable modality of the audible.” Joyce’s Ulysses is something more than a common thread linking the four works by Patrizio Esposito recorded here: it is actually the prime source, the very root of the compositional action. “Shut your eyes and see”: Joyce’s approach, which is Esposito’s inspiration, is precisely such ‘singing with one’s ears’. Many composers, ranging from Szymanowski to Cage, Berio and Takemitsu, have drawn on the inexhaustible riches of Joyce’s texts for their musical works. Patrizio Esposito, however, has his own very personal manner of approaching the great writer. His idea is that the man on the move has a greater and more refined sensorial perception than when he is stationary in one place. Hence the journey – whether it be a significant journey to a distant locality or a more modest and short city trip on public transport – becomes an opportunity to capture sound sensations with a sharpened auditory sense, one that grasps acoustic details that would otherwise escape one’s attention: something similar to the Joycean “ineluctable modality of the audible”.