The hidden parallels of this collaboration between Antonio Bertoni (cello, prepared piano, tuning forks) and the duo of percussionists Paolo Sanna and Giacomo Salis would appear to be drawn between the three compositions the trio chose to interpret and the original, unconventional ways in which their own contributions shaped the actual sounds of each realization.
For the first piece, chosen by Sanna and based on harpist Rhodri Davies’ Penrhiw, Bertoni, Salis and Sanna seem to have taken texture as their point of departure. Bertoni’s strummed and pizzicato cello, together with the various shaken and scraped percussion sounds from Sanna and Salis, present a free reimagining of some of the effects Davies’ extended playing extracts from the harp. The second composition interpreted is Morton Feldman’s Crippled Symmetry, selected by Salis and featuring Bertoni on prepared piano accompanied by tuned mallet percussion, gong, prepared snare drum and processed voice from Sanna and Salis. In contrast to Feldman’s predominantly understated dynamics, the audio space the three create here is filled with suspenseful, robust sounds. The third and final piece, Solo de Endingidi, Bertoni’s choice, was taken from a recording of Ugandan music. Bertoni’s rapidly bowed cello forms the backbone of the piece, which gets equally energetic support from snare and other percussion.
Listeners seeking literal interpretations of the source compositions won’t find them here, but to paraphrase the ancient dictum, sometimes a hidden harmony is best.