Giambattista Tiepolo «Allégorie du mérite, de la noblesse et de la vertu», Ca' Rezzonico (1757)
While the ciclo dell’assedio refers to the Iliad, the cycle for viola is a small odyssey of the breath that, through a formal metrical energizing path, changes from body/space to body/matter to body/instrument of tradition. It’s the story of a travel, a return journey; it goes back to the tradition of νόστοι (Greek poems of the epic cycle describing the return of the Greeks to their home country after the storming of Troy) and the viola is the storyteller: from the diffuse acoustic space, the slow return to the instrument, its separation and
new birth. While the Iliad is collective, the Odyssey is solitary and, unlike the Iliad, is formally linear. Simone Weil said “Ulysses is a hero of the daily life… he is not interested in poetry, but in storytelling.” What supports everything, the main stream and subject of the narration of this travel is the breath, in all its variations, from the almost nothing to full vibration; an uninterrupted chain, a never-ending stream: the materialisation of a continuum between inner and outer, the acoustic space and the instrument, the life and the individual.