is a work that I conceived in such an order that even those who were not ready for a demanding listening would still have the opportunity to input measured on short and chiseled pieces in such a way as not to lose thickness and specific weight. The work have differences in tunings and “colors”. What criteria did you follow? A characteristic element of Panir is the presence of three suites that include four pieces each, two more alive and two more reflective ones. This overall logic is legitimized by a common narrative theme, by a peculiar tuning that differentiates the suites between them and a color. The narrative themes of which a clue emerges from the titles of the pieces are green people influential in my inner world, existing or fantasy, for the red musical groups or experiences related to the composition of songs while for the black of Indian culinary recipes. You have chosen to record live. Why this choice?
I chose to record live and without sound cosmetics for a desire to be close to the reality of live performance and the sounds that exist in nature. All the poetic music that I present has as its pivot the outspoken and bronze timbre of the metal strings vibrating in the wood, loyal relay of the care and love spent to translate the worlds present in the mind into sound. It is not the first experience with this formula; I have two other records recorded in this way, namely Resilienza and aRnonauta. I would like to know more about the birth of the song “Atreyu” and its titling. A song to celebrate the part that dwells in man and that makes it ready to spend generously in risky actions, regardless of the outcome. A hero like Atreyu lends itself well to this delicate role that requires both strength and a daring distance from attachment to the benefits of success. 27