Ambiguous: having more than one possible meaning; open to two or more interpretations; of uncertain nature or significance; intended to mislead; not organized in conventional patterns.
Ambigua is my take on post romantic classical music and an homage to early 20th century composers who dramatically influenced the art. They revolutionized music with a series of stylistic breakthroughs, staring with symbolism and Impressionism, that had a tremendous impact on the way we perceive harmony, melody and rhythm today. I revisit these utopian and ideal places with modern tools and aesthetics (and mindset) searching the point where musics meet, whether time is linear, and where in the great scheme of the universe is the artist's home.
Ambigua consists of interpretations of selected pieces by composers Debussy, Satie, Schoenberg, Bartok, Mahler, Stravinsky and R. Strauss, mainly orchestral, preferably for string ensembles. Using mostly software synthesizers (*), I try to maintain the basic characteristics of ambiguity and intrinsic - extrinsic metaphor and the deepest, elusive and most tangible secrets of these compositions.
A modern envision of 20th century classical music is the presentation of the composition in an analogous way, so that the content is preserved in the utmost detail, while the sonic ambience is transformed to reflect the current aesthetics. I extensively use as much of modern sound designing, computer programming and recording techniques I could get my hands on, with future plans for 7:1 surround sound and 3D visual content.
Ambigua is conceived in three stages (Acts) that span chronologically to cover respective eras of the early 20th century.You can also find Ambigua - Act I on Apple Music, Amazon, Spotify, Napster, Tidal and Deezer
Act Ι - "To Suggest is to Dream": G. Mahler - 5th Symphony, Mvt 4 - Adagietto, C. Debussy - Prelude à l'après-midi d'un faune, E. Satie - 3 Gymnopédies
In a conversation between Debussy and his former master, Ernest Guiraud, Guiraud asks about an ideal poet. Debussy answers by telling him that an ideal poet is “one who only hints at what is to be said”, quoting Stéphane Mallarmé and the symbolists: to name is to destroy; to suggest is to dream. He goes on to say “one can travel where one wishes and leave by any door” when referring to a seemingly random cluster of notes he played on the piano.