Elusion

This work is an intimate musical-philosophical research born from an etymological reflection:

if we think of life as a game (in latin, ludus), we discover from the words we use four main ways to play the game of life.

The first is 'illusion' (in-ludus): being so deeply into the game that we don't realize we're just playing.

The second is 'delusion' (de-ludus), suddenly discovering the deception and finding oneself out of the game.

The third is the 'prelude', (pre-ludium): always staying one step before the starting line for fear of playing (you don't win, you don't lose.)

The fourth way is elusion (ex-ludus): voluntarily leaving the game or moving within it so as not to be subjected to the rules of the game but to elude them to create a new game space.

In this sense, the nine pieces of the collection are to be considered halfway between Etudes and Preludes, which is why we will call them Eludes. They are the study of the laws of sound and harmony in order to gradually move beyond them.

Like nine pages of the diary of an escaped prisoner, they must be read without stopping at what is written, but trying to find the secret passages to get out of prison as you approach them. In fact, the fugitive says everything always leaving something out, so the interpreter

tends incessantly towards the music in pulling something invisible out of it.

The nine steps, starting in the total darkness of 'Crypt', move counterclockwise following the tonalities on the circle of fifths, leading to a progressive illusion-illumination. As everything will start from the incessant tolling of the crypt bell (B?), at the end of the journey you will be able to hear a single tolling.