In fact, though it was decided with a strong passion for a musical way of expression, the sources contributing to found this project have got quite a more various and composite nature, beginning from those of a marked literary sort: the origin of the first above-named work is to be found in the writings (several compositions of “veiled-autobiographical” kind) produced before the birth of the project, and that could inspire its creation very naturally in the attempt to give the most suggestive completion to words for communicating emotions in a multi-sensorial way.
It’s a terrible fear that constrains us to scream our wish of Love and Life: everything’s born and has been taking shape after getting conscious of the so-called “distance from being and appearing”, that we’ve been trying to point out as a fetid plague in this world of “perfect men”, where too many emotions are hidden and masked to take refuge in mean “plastic” mechanisms of the quality of unconditional appearing; but the absence of emotions, more or less forced, apart from leading to a sham life, can even lead to insanity (maybe the opposite extreme…). So you can see well the reason of the two above-emphasized capital letters: there’s a strong need of expression, and this must be pursued by not accepting any hypocritical half-measures and especially not placing our trust in some temporary trends just to gain an increasing (in a hypothetical measure, anyway) audience.
In this sense the musical disposition to a classical form, markedly romantic, has to be sought very probably not exactly in the wish for a purposeless recovery of tradition, but, rather in a natural trend towards a historical and cultural period we still feel next to us and that embodies the emotional and passion impulse we intend to be spokesmen of. Moreover, the birth of descriptive music is peculiar of the romantic age, and this is a form we’re inclined to in a spiritual manner for realizing an expressive community that seems to be finally turned into an exquisitely theatrical substance.
In fact, starting from these conceptual premise, the band-new work by A&SR, titled Né l’être… éternel, is born and it appears structured as a sort of “pièce” inside which there are some interfering musical parts describing the atmospheres and the events told in four tales, that’s the four movements of the Eternel-Symphony, acting as a soundtrack in the forthcoming performance to be put on stage with the support of a theatre company.
In the matter of the specific musical sides, the work quite “winks” at a stylistic contemporary research that could take the duet to collaborate with several musicians of classical training, even getting to the choice – surely interesting and, luckily, very precise in its production) to realize some totally acoustic compositions, and supplied with a delightful “old-fashioned” sound style or else to try to perform a vocal trio, made precious by gentle counterpoint forms. Even during the musical live acting the ensemble, appearing as a piano+cello duet, or else with ennobling presence of the female voice together with the baritone male one, proposes itself as a prevalently acoustic band of contemporary genre, that never gives up interpolating notes with acting and poetical recitations, always fundamental to be able to place the performance in an atmosphere about which there hasn’t ever been any intention to offer an abstract musical connotation; as a matter of fact, in pursuing this decision the moment’s come to choose, in case of need, to plan the acting about the more specifically theatrical angle, where the weight of soliloquies and of gesture acting, mixed with dynamical movements on the stage can get the upper hand over everything else and so take the audience to a breeze drifting from the before existing context.
Moreover, even the theatrical side-project Le stanze della mente (The rooms of mind) is going on and it’s conceived as a multi-disciplinary theatre-therapy laboratory, open also to neophytes to be introduced into the acting world and theatrical improvisation, inducing them to propose and create themselves the parts they’ll end by playing on the scene.
About the presence of an invisible “umbilical cord” of inspiration that links the project to some contemporary artistic movements as surrealism and futurism, there are several repeated witnesses in the homage’s to Antonin Artaud, quoted and performed in one of his minor - but not for this less representative of his genius - works, L’Art et la Mort, a collection of various writings, published in 1929, at the height of the surrealist period.
Overvaluing and inner searching for irrationality, the “truth” of dream and the consequent justified immersion into atmospheres of oneiric contemplation, that are lived as some first states of hallucinated sensitiveness during which death give signs of a deep expression, are conceptual cornerstones AUTUNNA ET SA ROSE ties itself constantly to, and, not casually, quite on them the spiritual leitmotiv for Eternel is based: the reference is made to the idea of a kind of “millenary” death, a death that is seen, like ancient peoples were used to do, as a part of life, this very life that is “guided” by the dream, where you can “feel” the souls and meeting angels can be reality…
Moreover, Nature can make us live and see, refracted within our inner world, some unexpected specular reflections: the bridge of the presumed crossing from one state to another, if seen – in an oneiric condition – reflected onto two orthogonal planes, can show us the vision of infinity, of the symbol of continuousness, soaked in a both comfortable and unchangeable eternal nature.
The theme of the spirit’s eternity generating energy, of death as an essential part of life and the search for a symbiotic relationship with a Nature modern human beings have a great need to be reconcilied with divides in two distinct halves. The first one comprises 4 chamber music pieces while the second one consists of 4 orchestral pieces. Actually the number 4 represents Nature and the elements that form it. With this work, that surprises audience and critics once again, A&SR confirm their musical tendency towards a historical and cultural period that is clearly romantic. It embodies the emotional and passionate impetuousness they portray.
In August 2000 the multimedia show of Né l’être… éternel is on stage during the exhibition Corposamente. Gianluca Lo Presti, an already well-known artist on the alternative national scene takes part in it, mainly as a guitarist, with Disorder (the only member from the original duo).
Before the release of Né l’être… éternel, Disorder conceives the idea that will become A&SR’s third official release in February 2002, Sturm. It is a music-theatre opus with the exceptional participation, besides that of G. Lo Presti, of the historical leader of Tuxedomoon: Steven Brown.