Giorgio Mirto

Metéoros

Meteōros (μετέωρος) means "suspended aloft," "elevated," or "existing in the air." The word refers to something that is not fully anchored to the earth, a condition poised between weight and lightness, stability and uncertainty. More broadly, metéōros evokes a state of waiting, of precarious balance, of silent tension toward something not yet fulfilled.

It is precisely this liminal dimension that forms the poetic core of the work.

The musical discourse does not unfold according to a linear narrative trajectory or a strongly teleological process; rather, it develops as an exploration of suspension and attentive listening. The natural resonances of the instrument become the primary material, creating a sonic field in which each event seems to float within the acoustic space before gradually dissolving.

Tonal gravity is at times weakened, at others merely suggested: harmonic centers do not assert themselves, but appear only as distant horizons. Melodic lines move through subtle shifts and minute oscillations, avoiding emphasis and favoring a restrained, almost meditative gesture.

Silence, too, assumes a structural role—not merely as a pause, but as a place of resonance and expectancy, a space in which sound continues to vibrate inwardly.

Thus, μετέωρος becomes a metaphor for an existential condition. To be "suspended" does not simply mean to be unsupported; it means inhabiting a threshold: between the visible and the invisible, between sound and its memory, between presence and its echo. In this sense, the music does not describe an object but embodies a state of being. Each phrase seems to question its own equilibrium, each chord to seek a gravity that is constantly deferred.

Within this dimension, touch becomes a measure of time; vibration, a measure of space. The result is a sonic landscape that invites deep listening, contemplation, and an expanded perception in which sound does not fall, but remains—for a fragile and precious instant—suspended in the air.

(Andrea Pace)