We are the natural extension of the instrument we play, just like the branches of a tree whose roots delve deep into the sky, and not the ground; music flows in these branches symbolising the process of uniting perfection and imperfection, represented by us human beings. This allows us to see and go “BEYOND” all worldly things, enabling us to experience all that is other-worldly and unreachable. Listening to music conveys emotions, awakening in me the will to go “BEYOND” what I am listening to, wanting to recreate such emotions through the notes on the piano.
The aim of “BEYOND” is to represent the creative process of each individual, which enables us to transform emotions into sensations, images, and memories, only by actively listening to music.
This project represents all of me and both my personal and musical evolution. The latter always included listening to all genres, but it began from studying classical music, subsequently enriched by studies of jazz varieties. This allowed me to express my feelings through music, which in this case were stirred up by eight of F. Chopin’s marvellous preludes (op.28 n°1, 2, 3, 4, 10, 11, 20, 21).
These preludes inspired the compositions and improvisations in this record. Each track begins with one of the original preludes – performed either partly or entirely – which then evolves according to the specific melodic, harmonic, and rhythmic characteristics of each work of the Polish composer. Such diverse elements gave life to the emotions engraved in this record through different musical writing and improvisation of the musical language of the 20th century, such as bossa nova, choro, and swing.
A brief explanation of the creative journey I embarked on: what struck me in “ChOpen” (prelude op.28 n°1) was the repetitive rhythmic cell appearing from the first cue, paving the way for the rest of the track.
In “A minor Blues” (prelude op.28 n°2), the harmony of the track inspired a connection to a blues section, returning to the original composition only at the very end. Using a melody mainly characterized by the lydian mode, I developed a fast phrasing of the left hand in “Wind” (prelude op.28 n°3).
In “Saudade de bossa” (prelude op.28 n°4) the minor harmony evoked a development in the style of “How sensitive”, a famous standard by A. C. Jobim.
“Tico tipo no Chopin’’ (prelude op.28 n° 10) is a somewhat similar case, although this time, the relentless pace of Chopin’s work was a major source of inspiration, together with its harmony, as it emerges in the title of the track.
In “Like Chopin” (prelude op.28 n°11), Chopin’s wondrous theme urged me to keep going, as if the music did not end at the bottom of the page, leading me to express my feelings in a style similar to the original.
In “Ballad con moto” (prelude op.28 n°20), both the harmony and the strong, yet somewhat melancholic, character of the prelude, stirred in me a sensation of both tranquillity and turmoil, as it emerges in the theme following its performance.
The last track of this record, “Talking to myself” (prelude op.28 n°21), best represents what I tried to explain in the introduction of this booklet, and for this very reason I will just leave it to music to narrate what words cannot express, thus, enjoy the music!
1. Preludio op.28 n.1
ChOpen 4.05
2. Preludio op.28 n.2
A minor blues
3. Preludio op.28 n.3
Wind
4. Preludio op.28 n.4
Saudade da bossa
5. Preludio op.28 n.10
Tico Tico no Chopin
6. Preludio op.28 n.11
Like Chopin
7. Preludio op.28 n.20
Ballad con moto
8. Preludio op.28 n.21
Talking to myself
All composed by Giuseppe Di Maio
Publishing: AlfaMusic Studio (Siae)
