Formal synapsis

Ex Novo Ensemble

Daniele Ruggieri flute
Davide Teodoro clarinet
Annamaria Pellegrino violin
Carlo Teodoro cello
Aldo Orvieto piano

As Umberto Eco states, “At the beginning of the 1980s with the crisis of the avant-garde, a new generation of musicians entered the scene carrying values that undermined the foundations of the culture of modernity with which the 20th century had identified itself. To the intellectual rigorism of the New Music, postmodern composers oppose the right to freely choose their own models in the sign of a newfound desire for expressiveness and communication that leads them to re-evaluate the perceptual aspects of music and rediscover forms and syntax of the past.”
If the Avant-Garde had, since the immediate postwar period, imposed rigid – if sometimes opposing – programmatic manifestos in support of such binding theoretical systems as, for example, Serialism, Structuralism, Experimentalism, Alea and induced radical poetic strictures, the last decades of the 20th century saw the emergence of a tendency to rediscover art as a privileged locus of communicative needs and inner resonances long suppressed, accompanied by a yearning for uninhibited and constructive confrontation with one’s past. If the exasperated intellectualism of the A- vanguard constituted a reaction to the paralyzing weight of history, the liberation from these phobias opens to an aproblematic relationship with tradition, to interest in and in-depth study of forms and techniques of all times, including elements of the much-feared tonal syntaxes that reappear purged of all reference to their context of origin.