Borzelli

Those who have seen the Quartetto Maurice play live have seen this on their faces, in their gestures: the long sweetness and the angry acceleration, the smile and the serenity, the eurhythmy and the euphoria. The latter has often accompanied their wish that everything should change. We know that when we want everything to change, we evoke fire. Flame, Bachelard writes in an essay, is of all the objects that evoke reverie, one of the greatest operators of images: flame forces us to imagine. This is a truth that Fausto Romitelli knew well. Referring precisely to the synthetic work Natura morta con fiamme (1991), for string quartet and electronics, he explicitly refers to an imaginary scale, to an extremity which has a language without words, purely of relations, of which the essential elements are conventional and abstract, implemented by algebraic and combinatory processes.

Those who have seen the Quartetto Maurice play live have seen this on their faces, in their gestures: the long sweetness and the angry acceleration, the smile and the serenity, the eurhythmy and the euphoria. The latter has often accompanied their wish that everything should change. We know that when we want everything to change, we evoke fire. Flame, Bachelard writes in an essay, is of all the objects that evoke reverie, one of the greatest operators of images: flame forces us to imagine.