To sink into sound, following its vibrations to the point where matter and breath become indistinguishable. De Reditu Suo, the new work by Giuseppe Franchellucci, moves along this threshold and unfolds as a sonic crossing for solo cello, voices, and electronics, where acoustic material expands and transforms, as if sound itself possessed a living body.
The musical language that emerges forms a mosaic of tensions and traditions, where the formal discipline of Baroque writing coexists with the legacy of European electroacoustic research, the boldness of New York’s experimental scene, and a melodic melancholy that recalls Mediterranean sensibility. Between rigorous instrumental gesture and timbral freedom, the cello becomes a laboratory of resonances in which memory and experimentation intertwine.
Released on December 5 by Cassis Records, the project draws inspiration from the ancient text “De reditu suo” by Claudio Rutilio Namaziano, a work centered on the themes of return and transformation. Rather than a musical translation of the poem, the album takes shape as an inner itinerary, a trajectory composed of transitions, passages, and sonic metamorphoses.
At the core of the work lies a deep exploration of harmonic frequencies and the physical vibrations of the instrument. The cello becomes a field of resonance in which strings, wood, and air generate micro-movements of sound that expand into the electronic space. Voices emerge as distant presences, almost liturgical, while electronics extend and transform the instrumental gesture, creating a hybrid fabric between acoustic matter and synthesis.
The record unfolds as a concave path, built from approaches and dissolutions. Moments of dense timbral presence alternate with more rarefied spaces in which sound appears suspended, like an echo from a distant time. The textures of the cello intertwine with sonic fields that evoke archaic chants and layered memories, shaping a soundscape that moves between physical intimacy and an almost ritual dimension.
Co-produced with Stefano Pilia, with the contribution of Alessandro Trabace, De Reditu Suo represents a meeting point between instrumental practice, timbral research, and compositional vision. The result is a work that moves along the boundaries of contemporary composition, sound art, and electroacoustic experimentation.
More than a simple return, De Reditu Suo becomes a radical act of listening, to sound as a vibrating organism, to the body that generates it, and to the time that flows through it.
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