The title I chose for this series of 5 pieces is perhaps sufficient in itself, to describe its characteristics. The notion of an icon fascinates me, maybe because a contact occurred with this form of art, which at the level of perception, is in a phase of the original communication.

This quest for an "original source" of direct perception, which is the essence of a quality base separated from the thing itself, it ' is what I'm trying to reproduce in this collection. In the words of Peirce, the search "of a state that is fully present in every moment".

All this leads me to frustration of some types of musical rhetoric, as the development or the dynamics of proliferation determined by the deductive or inductive reasoning.

The intensity of such approaches "reveals" the worlds, by contrast icons let seen by resemblance nuanced judgments of perception according to the logic of abduction.

5 movements that make up the work are blasts, they are potential sights on ecosystems.

The main topic is the piano, which is eventually stripped naked, deprived of gold and silver leaves which previously covered it in part, as many the of Saints in the 18th century.

Spaventa, Lucia Passaglia, Antonio Ballista and Francessco Pepicelli at the Conservatory of Perugia. In 2000, he succeeded his degree with honors. That same year, he received the grant "Premio Rotary" and began a career as a soloist accompanied by the Symphony Orchestra of Perugia. Meanwhile, he studied conducting with Ennio Nicotra (1999-2003).

As from 2000, Marco Momi is principally engaged in the study of composition with Fabio Cifariello then, from 2003, with Ivan Fedele at the CNR of Strasbourg. From 2005 he studied with Clarence Barlow, Matijn Padding and Richard Ayres at the Royal Conservatoire of The Hague. He participated in the International Ferienkurse für Neue Musik in Darmstadt and followed masterclasses with Brice Pauset, Helmut Lachenmann and Stefano Gervasoni.

Since 2007, he studied computer music at IRCAM.

Marco Momi wrote his first piece in 2001, Ex Cherub, for solo violin. His catalog currently contains fifteen pieces for solo instruments (Aphorisme über wachet auf for organ, 2005; Reflexion II for bande, 2006; Tre nudi for piano, 2007) ensemble (Hox on Beckett for violin, viola, oboe and bass clarinet, 2003; Affordances for saxophone quartet, 2004...).
Marco Momi is part of the new generation of Italian composers who considers as central the role of research and who believes that music is a language. He based his own course on the aesthetics of the recontextualization of the musical phenomenon needed to create new signifiants.

Far from a speculative approach, he seeks functional solutions to a new "ecology" of sound, where the various mimetic elements, linguistic registers and acoustic environments combine to make memorable the experience of listening.

NOTICE

Les mots, a work for amplified ensemble and voice, was created September 5, 2006 in Amsterdam by the ensemble ASKO and Monique Krus (soprano), under the direction of Bas Wiegers.

"Les Mots are born from a text of the sculptor Alberto Giacometti. It is not a text designed for publication, but on the contrary a literary impulse, a vision recorded on scattered sheets or on the walls of his studio. This lecture transported me. These words, for me, have the force of necessity.

I tried to cling to the text through the use of a "madrigalismo allargato", with reference to the semantic field more than word for word of the tripartite form of this piece (...) I worked on the dialectic elements varying connotations of the common contemporary language to create environmental sound: spiral movements, metallic sounds, extensive detail to pointillism and basic beats, primordial. I looked in the end to recreate the mental journey of Giacometti, which for me has a strong feeling of 'déjà vu', a dreamlike and sincere moment with a sense of a human impulse." (Marco Momi)

"I do not want to get involved keeping hold of anything, my hands always completely free in the air, not going into any shell,
not touching anything at least directly, that things come with silent feet, by themselves they enter without my hearing any noisy door that opens and closes, no straight line, I will not touch any injury. Observe without drawing any rule, do not pass any judgment, by far, by very far time fades into space with a horrible slowness, just barely moving, continually, transforming slowly all that stands, even the disasters, even the eruption of a volcano, hardly noticeable.

But the wave that came over me on the belly of a woman and seized my throat with infinite gentleness."

Giacommetti Alberto (1933-1934)

Duration: about 11 minutes

NOTICE

Sometimes I feel the need to play games . I begin to rummage in the wonderful world of musical sounds (often "unconventional") and extra-musical, with a childlike mind, curious and entertained. Ludica and Ludica II have in common the electronic band, tearing the linearity formally objected to attempts to polymorphism, the low-fidelity as a concept midway between the acoustic beautiful sound and electronic circular motion. Virtuosity to John Petrucci / Paul Gilbert and the puzzles become spirals infront of stairs, which eventually collapse ... and then you get tired of the game, you stop without finishing it, that's when you realize that often it is better to keep your hands sticky with jam.

Marco Momi (translated from English)