SONANZE

A lot of long-form electronic compositions can be described as having a symphonic quality, but that usually refers to the dynamics in the way that each electronic element is used to create a loud/soft or empty/full effects. Roberto Cacciapaglia's Sonanze, however, is symphonic in a very literal sense.

In addition to the experimental electronic manipulations as per the usual standard set by fellow Italians in this era, also included on this album are horns, piano, strings, choral vocals, among other orchestral instruments that create an unmistakable organic atmosphere. The way these acoustic orchestral instruments are used is very similar to the usual contemporary classical sounds (either super melodic or comparatively dissonant), which is too say not all too interesting or groundbreaking, but it does at an increased dreaminess to the music that would otherwise be absent.

The overall tempi of Sonanze is very laid back, never really progressing past a relatively quiet mid-tempo pace. As strong as the symphonic quality is in the instrumentation, the music never escalates to Mahler- or Beethoven-esque power and instead opts entirely for a French impressionism type of subdued dreaminess.

As for the electronics that make up the other half of the album's overall dynamic, it works well by integrating seamlessly into the orchestral moments, accentuating what the other instruments are playing. In moments of jarring dissonant string melodies, the electronic portion is mainly a despondent drone; in moments of organic cheer, the electronic portion is uplifting like the sun's rays.

Anyone interested in contemporary classical music could probably enjoy this if not expecting anything truly groundbreaking, but could very well be a soothing listening experience for anyone.