Revival and Reclamation applying the traditional techniques of restoration
Italy is a treasure trove of music, paintings and sculpture. Arguably there are more important works of classical art and music in Italy than any other country and no greater concentration of such works than in Florence.
Associazione Passignano will participate in all aspects of art revival and reclamation projects with a focus on those that engage the services of professionals who apply traditional artisanal techniques and methods of restoration.
On the occasion of the Millennium Sunset Concert, a celebration of 1000 years of the San Miniato Al Monte abbey, in Florence, Associazione Passignano commissioned composer Ian Cecil Scott to write and produce an orchestral composition that encompasses the music and the four elements of life that are so interwoven in the Benedictine order and represents the past 1000 years of their brotherhood.
The project is inspired by the four elements of nature: Water, Air, Fire and Earth, concept very close to the monastic community of the Order of St. Benedict which for centuries they guard the Abbey of San Miniato al Monte.
Long discussions with the Abbot Bernard on his vision of the importance of the millennial for the abbey they inspired me to reflect on the great need for peace and union between the cultures and religions of the world.
Consequently, I conceived a work composed of four movements, each associated
to one element, Water, Air, Fire and Earth, which symbolize the fundamental elements
of nature as a guide for a sound mapping of the world.
The first movement refers to "Water" and is inspired by oriental echoes between China and Japan with references to Mongolian sounds. The second movement, "Aria", is associated with Yiddish culture with hints that range from Russia to the Balkans. The third represents the "Fire" which is modeled between Arabic sounds for the Middle East and Egyptians for Africa.
The fourth movement, finally, is the "Earth" understood as the World, where all the main themes of the movements mentioned above come together and counterpoint in a more arrangement Western to the rhythm of a classic Viennese waltz. Each culture has its own identity that has been built over time between history and tradition, and that the common language of music can represent with the sounds of each of them.
This work wants to show that, however unique, if we replace the key to the reading of "identity" with "context", we are all part of the same arrangement.
Ian Cecil Scott