Emiliano Turazzi leads us in these three works into an “existential” condition in which music takes place in more or less ample time strings for...

Emiliano Turazzi leads us in these three works into an “existential” condition in which music takes place in more or less ample time strings for which the exercise of memory, the “posthumous” listening, would be partly difficult, but partly also superfluous. Turazzi’s music exists in the moment in which it exists. In these three pieces one has the clear sensation that air is converted into time, time into objects, into agglomerates always subtly varied, defined in the smallest folds that cannot really be experienced– except at the moment of their manifestation and their “hitting us”. The sensation of living in these strings of sound-existence also persists in the recording, in the mechanical reproduction that makes us lose the spatial dimension and the unrepeatable experience of the moment, but that also induces us to live every single sound, every subtlety, and every quality of matter without too much having a final, global “meaning” in mind.