Mitokons 1 - LET SFINGE, concert | texts-concepts

Mitokons 1 - LET SFINGE (The Flight of the Sphinx)

CONCERT

concept and art direction: Raj X Tot

music: Raj X Tot - Riccardo Massari Spiritini

lyrics: Raj X Tot

voval interpretation. Raj Kraljev (the sphinx)

musical themes: AURALI LUMINOSO (Intro), FIRST WHO, SEM ZNANJE (I am the Knowledge), SECOND WHO, SONO UNA NAVE (I am the Ship), THIRD WHO, SOC EL RAJ (I am the Raj), AMBIENTE PRIMO, DREAM ONE, AMBIENTE SECONDO, DREAM TWO, AMBIENTE TERZO (Seven Divine Rhythms & Lush Meor - Chorus), DREAM THREE, BON VOYAGE, CREO MÁS (I Believe More)

CONTENT

Let Sfinge is a sound and visual poem about the Sphinx's epic journey to the core of its being.

According to the oldest mythological accounts, the Sphinx is the guardian of knowledge. As a vocal sculpture and the central character of this project, the Sphinx decides to leave its place because of the lack of attention to the guarded knowledge and flies to the omnipresent world of its dreams to find out the essence of its mission.

The realisation, that its function in the eternal circle of evolving knowledge is unique, leads it to a decision to alight in its place again. The flight brings about the awareness that it can embody itself only in the pleasure of identification with its own truth.

The project is a psyco-intimate scenic event. With the use of electronic sound, live vocals and adequate sensorial technology, Let Sfinge tries to establish an interaction between the ideal – the wish for self-fulfillment – and the alienated response of the reality. It tries to explain within its own limits the eternal gap between the illusion of reality and its real-life reflection. It is a wake up for those who want to live the pristinness of their dream.

In The Flight of the Sphinx "Les Ellisylphides" are elliptic projections of mind patterns' dance of the sphinx's subconscious. By overlapping these cerebral maps of emotional contents from different time interpretations we encounter an image of our timeless origin and we witness a multidimensional construct of signals which, through sensoriality of mind, leeds us to an improved comprehension of our presence in the infinite moment.

MUSIC

The music is the product of the dialog between the original melodies and verses of Raj Kraljev and the masterly translation of these contents into an electronic sound composition done by Riccardo Massari Spiritini. Here are his thoughts from the essay "Notes about music of Let Sfinge".

"Let Sfinge talks about the relationship between Man and the Universe, between the intimate dimension of each human being and the world. The voice represents Man, the electronic music the Universe. The melodies by Raj Kraljev were electronically interpreted by Spiritini in order to be immersed in electronic landscapes composed of quantum particles in constant movement. The slow crescendo of the Introduction, entitled "Aurali Luminoso", can be interpreted as the approach of the creative state of consciousness. Indeed, the sound of the electronic gong is a symbol of the awakening and it announces the questions posed by the Sphinx.

The Flight of the Sphinx is divided into themes and situations that project us towards space in order to deliver us back to earthly life in a renewed form.

The main goal of the compositional work consists in coherently giving body and form to a sonic fusion of Raj Kraljev's songs, sound ambients and other electronic elements created by Riccardo Massari Spiritini. This was a type of a formal and timbric challenge.

The human voice is the only "acoustic" element immersed in the imaginary space of the otherwise electronic music. This relationship between the individual voice and the electro-acoustic universe represents the dialectic foundation of the composition."

SPACE

Let Sfinge is a contemporary mythological concert based on trans electronic sound and monumental vocal memory.

The vocal sculpture in the image of the sphinx emerges from the top of the visible part of a spheric iceberg which represents the guarded knowledge. From here it tells the story in the axis of a diamond or "cerebral radar" made of mobile elliptical projections, which receives and transmits signals of the sphinx's intimate consciousness.

During the vocal interpretation, the biometric sensor is attached to the Sphinx's head and captures its brain-wave activity, which is then projected onto elliptical screens in the form of graphic images. Our research on the multilayerness of patterns is based on the outline of this cerebral maps done by the video designer Antonio Giacomin.

On the sides of the diampnd, interacting with the trans-monumental narration, there is an overlapping projection of reflections of the sphinx's subconscious, of landscapes from the path and of intuitive live shots from the concert.

In this epic research into the depth of the self, the Sphinx breaks through the space of vibrating sounds clearing and reinforcing the nature of its mission. The Sphinx is the mythological icon who gives the TONE of the original source of creation in its own way, always recognizing the wisdom arising from its depths and reacting to the primitive rigidity of repetitive absurdities of the context, thus transforming them into acts of touching beauty.

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