The second movement represents the imaginary meeting between Frederico II and Sultan Al-Kamil. Historically, their interaction was primarily through correspondence rather than a direct encounter. Their exchange of letters played a crucial role in diplomatic relations, particularly during the negotiations that led to the peaceful handover of Jerusalem in 1229, as part of the Sixth Crusade. This movement envisions a moment that may never have happened, yet reflects the intellectual and cultural dialogue they shared across religious and political divides.
On this side, we find a reflection from the author, written after finishing composing the piece. Cristiano, the composer of the second movement, not only explains to us what his idea was but also the motivation that led him to develop it. He opens our eyes, allowing us to interpret this meeting, which ideally took place centuries ago, as an example of how certain wars could sometimes be avoided. This event thus stands as evidence of how friendship can save many lives.
The first meeting
The first meeting with Cristiano was on December 16, 2024. The meeting took place at the Conservatory of Palermo, where we read the first draft of the piece together with the teacher Loris Capister. We first read through the piece to check that everything was actually playable on the harp. Then, a second reading to give me a clearer idea of his expressive and compositional vision, taking a look at the score (therefore at the part of the quartet) to understand the sound timbre that would be created.
The composer revealed that much of the thematic material comes from a series of short pieces, lasting a couple of minutes each, written in the spring of 2022 to study “modal” harmony, primarily for cinematic use. In the weeks following December 16, 2024, the composer began practicing writing for solo harp, creating a series of drafts to explore the instrument's potential and limitations(Document 17). This process helped to find a personal stylistic voice. This approach was crucial for accumulating varied experience within a short time by composing many small pieces, each with a different character.
The composer then decided to treat the story as a small symphonic poem, entirely instrumental, that would tell the informal dialogue between the two rulers through sound and musical rhetoric devices. If necessary, a program note would be provided.
Once the approach was clear, several thematic ideas were consulted, and a draft based on the Dorian mode—melancholic and solemn, perfect for evoking the late-medieval scenario of the holy war—was chosen. The structure was outlined with essential ideas and developments (melodies, bass lines, chords…), covering just under the total duration of the piece.
Cristiano, therefore, told me that he would have preferred to compose the piece without the male voices (at the beggining actually he declared wanting to compose for an ensemble that also includes two male singers, in the form of a dialogue between Frederick II and Al-Kamil during the Sixth Crusade.), because harp and quartet would have gone better with his final idea. In the following video, Cristiano, listening to the movement, reveals step by step what his compositional ideas were and explains them.
Second meeting
The next update is dated February 12th, the day I receive the second draft of the movement.
In the second draft, it is possible to see how Cristiano has expanded certain sections, refined some parts, and stayed true to his original vision of the story from the first draft. During our meeting, we compared both versions, and he briefly explained the reasons behind some of the changes. We also discussed a few challenging passages for the harp.
Here is possible to listen the demo that he sent me during this meeting.
Theme I
The main theme serves as the foundation of the story being told. It introduces the piece and recurs multiple times, both in its original form and with variations. The use of the Dorian mode evokes a medieval atmosphere and reinforces the solemn tone of the seemingly inevitable war between the two rulers.
This theme was originally written in 2022 as part of a series of studies on modality1.
Theme III: "Frederick"
Frederick's theme continues in the Dorian mode, and the use of syncopations and dotted notes gives it a character similar to that of Al-Kamil’s theme, reflecting the parallels between their historical personalities. Like the other themes, it appears primarily in a varied form.
Theme IV
This lively and playful theme represents the friendship and mutual respect between the two rulers. Its energetic character and use of the Lydian mode evoke an almost tavern-like atmosphere. It appears twice: first in a brief development and later in the final section, leading into the coda.
I personally do not consider myself at all possessive of my compositional method; it is something that has been refined over time, through study and, above all, with experience. Therefore, it can only be a great pleasure for me to share it with other colleagues, scholars, enthusiasts, or simple curious minds.
The first step is always to write what pure inspiration dictates during the right moments. Once the idea is sketched out, it is set aside, awaiting a larger project. At that point, it is revisited and developed with this new perspective. It is essential to always have fresh material available, not only because it is often effective, but also to overcome creative blocks.
The structure of the piece is:
- Introduction: a small overture that encapsulates almost all the material developed later, with an epic, jovial, but also dark and solemn character.
- Development: a vaguely polychoral dialogue between the quartet and the harp, with many digressions symbolizing the informal conversation between the protagonists.
- Finale: a choral section based on the Gregorian melody of "Veni Creator," solemn and calming, to which the harp is added with an accompanying chordal movement.
Each section was then developed in detail, constantly evaluating potential additions or cuts. The harp part was reviewed and tested with me to assess its playability and the final effect.2.
Once the last modifications were made, the structure of the movement is as follows:
Introduction
Largo: Introduction of Theme I in the form of a string quartet chorale, with the harp entering to present Theme II, followed by a response from the strings and an intertwining.
A: The first violin presents Theme III, accompanied by the harp (which was initially intended to play with the plectrum, but due to the need for a rapid arpeggio, this idea was not possible). The cello responds, joined by the viola, while the harp accompaniment fades into a tremolo of the two violins. At this point, the viola develops Theme II with double stops, leading to a crescendo of the strings accompanied by a crossed glissando of the harp, culminating in a very animated cadential moment.
Andante: The harp resumes the accompaniment from section A. The second violin briefly hints at Theme III, to which the other strings respond with glissandi.
Development
B: A dialogue between the solo harp and the string quartet in a polychoral style, with a mode shift from Dorian to Lydian and a small crescendo.
C: The strings present Theme IV, punctuated by glissandi with a gong-like effect from the harp, with a lively character, followed by a rapid interruption and a small diminuendo.
D: A relaxing moment with the transposition of Theme III in the Lydian mode. The harp plays an ostinato, supported by a string backdrop that fades into a somber atmosphere, with the quartet playing in the low register in a constant diminuendo.
E: A reprise of Theme I played by the solo harp, supported by pizzicato strings, followed by a choral string writing of a solemn tone, immediately interrupted by a brief crescendo.
F: A reprise of Theme II, played by the strings, fading again into a choral texture that returns to Theme I in a continuous crescendo of tension, supported by the entry of the harp in ostinato, with a final diminuendo.
Finale
G: The finale opens with a glissando with a gong effect from the harp. Then, the strings reprise Theme IV in the Mixolydian mode, previously exposed in section C, but now developed more fully, punctuated by the harp's gong effects.
H: The harp takes up an ostinato similar to section D but with a darker character. The strings play oriental melodies, briefly hinting at Theme III, which culminates in a crescendo with a crossed glissando from the harp.
I: The crescendo from the previous section is immediately interrupted, and the harp introduces the final ostinato in 3/4 time, like the chimes of bells in celebration, playing stacked fourth chords. The first violin begins to sing the Gregorian melody of "Veni Creator," joined by the other strings in a choral counterpoint of religious character. Each sequence of the Gregorian melody is interspersed with breathing moments, where the harp plays a leading role. Once the sequences are complete, the harp plays a small final cadenza on the last chord played by the string backdrop.
At this point the composer says:
"With all ideas developed, the piece is essentially ready. Therefore, it is important to take some time to reflect on the material produced and, if necessary, make any final adjustments3."
Studying process
The second movement was the one that caused me the most anxiety, both because working with the other musicians was not always easy, and because the string quartet often has the leading role, so I couldn’t really lead the rehearsal.
However, from the first rehearsal, the piece flowed smoothly. Its clear and well-written structure allows the string players to almost sight-read it.
Compared to the first movement, there are more performance indications, which plays an important role, especially given the larger ensemble.
With more expressiveness from the strings, the piece brings out the composer’s imagery effectively. The style may seem simple, but when performed live, it has great expressive power.
At the premiere, the performance of this movement will be accompanied by a text to make the meeting between Frederick II and Sultan al-Kamil more understandable.
Conclusion
The collaboration with Cristiano was the most relaxed of the three. He was the only composer with whom I actually managed to deal in person in Palermo, and his proactivity allowed me to constantly discuss the evolution of the piece with him. He perfectly understood the research work and the ultimate goal of the piece and this allowed me to develop the composition process of the piece in a very exhaustive way. He immediately committed himself to writing the movement and this allowed him to calmly develop any changes or extensions. Furthermore, in parallel with this piece, the composer created a series of seven small pieces for me, helping me to better understand his style.