The conversation with this composer was mainly based on video calls. Each video call was recorded, and at the same time I took notes to document the exchange of ideas. The first video call took place on January 29, while the second one a week later, on February 4, and the last videocall was made on February 26, 2025.
The writing of the first movement which was originally intended to be for harp and oboe has evolved into a composition which is mainly for solo harp, with the oboe inserted only at the end of the movement. The main problem was because the image that the composer initially wanted to recreate did not go well with the nasal timbre, typical of the oboe. The composer had initially thought of using the flute as a solution to the issue, but this resulted ineffective, given that the harp already offered everything he needed1.
The tripartite structure of the piece includesm a 5-bar "transition theme"(introduced at the beginning of the piece) within the three images (Aeolian islands, temples, volcano), which represents the wind, an element that is present in all three geographical landscapes. In the first draft the oboe was also included in this phase, as can be seen in "draft 1", but then the oboe voice was partially integrated into the harp part. The tempo of the piece is largely left to the musician's interpretation. For this reason even the wider chords found in this recurring theme have been kept in this phase, because they are feasible if arpeggiated and distributed in both hands, and the fact that the harp plays alone helps the musician manage the timing2.
The first image is that of the Aeolian Islands. The key element that inspired the composer to write a passage dedicated to these islands is the wind, again (as the image of the transition theme). In fact, these islands are named after the god Aeolus (Àiolos, Αἴολος in ancient Greek), king of the winds.3 The entire passage, in particular, is characterized by a triplet rhythm.
The passage starts at bar 6 and ends at bar 20. During the second meeting, the composer realized the need to revise bar 18 . In fact, the entire passage was meant to be a light and rapid passage, like a breath of wind that ends with a glissando and takes us back to the "transition" theme of the beginning (this time in Bb)4. The issue with this passage was that it was designed for five fingers instead of four. The passage was not impossible, but once I understood the composer's idea behind it, I proposed an easier solution so that I could then concentrate on the fluidity in execution and the equality of the notes5. The modified passage distributes the chord across the four fingers of both hands, creating a chord succession that I would define as "common" in harp writing.
The next part starting from bar 28 is dedicated to the image of the Temples, and is the only image in which he was inspired by existing themes. In particular, he incorporated quotation from the Seikilos Epitaph6. The idea is to re-propose it several times, but inserting enrichment elements from time to time until it becomes something majestic7. The passage sees harmonics as the protagonist. The objective is to create a sort of musical staticity, without harmonic tensions. The harmonic part perfectly expresses stillness, but according to the composer it is too still, and seems to be missing something8. During our call9 I recommended listening to "The Minstrel's Adieu to His Native Land" by John Thomas; in the second variation, in fact, John Thomas leaves the melody to the harmonics of the left, but the right resonates, as if the same note at the highest octave were an echo, this could perfectly convey the composer's intended stillness while also evoking the echo effect of speaking inside a Greek temple.
The third moment dedicated to Etna is where also the oboe enter. Regarding the oboe writing, it is inspired by Holliger's study of multiphonics, but mainly for technical rather than musical reasons10. In this part, the composer wanted to recreate a Dionysian rite. The texture becomes more chaotic, reflecting the moments of loss and excess experienced by the participants. During these rituals, wine was used in large quantities. The composer takes us back in time, making us feel part of that moment of abandonment.
The piece ends in a cyclical way: the atmosphere becomes calmer, and the slower, freer transition theme returns, like a distant echo.
Studying process
While studying the piece, I tried to keep the composer's images and ideas alive in my mind. However, the composer left a lot of room for interpretation. This freedom allowed me to gradually understand how I wanted to play certain passages.
At first, I studied the piece mostly on my own; later, I began to rehearse the final part with the oboist. The interaction between the two voices was not easy, both because my part was complex and because it represents a moment of total abandonment. In the end, the oboist and I managed to find a balance.
At the premiere it will be played by projecting images of the individual landscapes of each section, recreated thanks to artificial intelligence11.
Conclusion
My collaboration with Fabio was truly a unique experience. He deeply involved me in his creative process, sharing with me the challenges of changing directions and his artistic vision. This allowed me not only to fully understand the composition but also to interpret it in the most authentic way possible. Although most of our meetings took place online, he was always available for clarifications, open to discussion, and willing to provide all the information I needed. Working with him was incredibly enriching, and I sincerely hope to collaborate with him again on future projects.