In the proposed version, for vibraphone and tape, I attempted to enter Pietro Grossi’s sound spectrum of six Ostinati (OSTN) intended as moving soundscapes, maintaining the specific grain of each field as the centre of sound gravity. The vibraphone motor was conceived at different speeds for each field in the search for a vibrant and luminous sound, maintaining, within a sound unit of organic character, two dimensions: figure and background in the dialectic relationship of listening.

In the first ostinato, a constant tremolo from slow to fast covers the entire frequency range of the vibraphone, within the sound field of Pietro Grossi, tending to the extremes with a few single notes „as if illuminated“ in an almost choral of ascending/descending voices. In the second ostinato a tremolo on a single note dissolves into the sound field in a ‚liquid‘ manner with minor-second leaps ‚in the breaths of the tape‘ with a non-melodic legato alternating between the two voices. In the third ostinato a large wave determines a constant pulsation (pulse) with motor off, a regular almost rhythmic pulsation that builds, within the sound field, overlapping layers of density within the white noise like a big breath: (R)es-breath – breath (big breath) – In-breath: an idea of a ‚melody‘ of white noise. The fourth obstinate is „the voice of the dead“ or rather: voices of etheric bodies. In the encounter with the suprasensible, a suspension of the will in Feeling takes place. The vibraphone appears in the background ‚inside the voices‘ as a presence: I hear/ between the notes. They are Voices! In the counter-singing. The fifth ostinato is static with tremolos that fit into Pietro Grossi’s conciliatory and serene sound field. The sixth ostinato rediscovers the presence of the Will, of a will expressed as free, fragmented improvisation: almost furious but diluting…

In conclusion, the vibraphone is understood as an instrument of distance, in the absence of the performer who re-presents himself, in a path of purification, in the sixth ostinato as an improvisational body. What prevails is the sound of the vibraphone in the field: for Pietro Grossi.