In every moment of history, music is so different. Often it is difficult to draw shared meanings from compositions written close together much less works written across distant times. Connecting across time is the profound meaning of this project, De l’Infinito, in which the idea is to clothe the voice and the word: in Monteverdi the voices of the Mass In Illo tempore are, so to speak, renewed by the non-literal doubling of the violas, according to a usual practice in the sixteenth and seventeenth centuries and not practiced today; in Cresta it is the electronics, created in real time, that accomplish this process of revealing further and different possibilities of the human voice.
