While I was attending the Conservatory of music, the expressive forms that brought to my hearing that discordant sensation, then unpleasantly assimilable to certain “clean ears”, were put aside and removed from the programmes and by almost all the teaching staff who amused themselves in metronome scansion with the tapping of feet, also assumed a hieratic attitude, creating the sensation of a somewhat bodily rather than musical interpretation of the composer being studied. It was a period of frenetic ambition nourishing, day by day, the time of my education spent together with a musician-teacher who stimulated some of the reception sensors, activating the possibility of seeing a part of the music not generally illuminated. The rustles and various noises that nature offers us have an intonation, and by now the tempered musical system is well-worn. New instruments and software can substitute violins and pentagram music sheets. Could this be the time for change?

My affectionate thanks to the composer and spiritual guide of that period, Raimondo Di Sandro.