An alternation that recalls a noble ancestry, which is, not by chance, Triestine (for example, authors
that we listen to with empathy, Mario Zafred, Pavle Merkù, Daniele Zanettovich), Podda combines
12 numbers, some instrumental, other vocal, creating what we could define a lyric suite: The Chords
of the Air. As he affirms “these pieces are not recent, but very intimistic”, composed between 2007
and 2012, which represent “something that links the past to the present […] as a souvenir photo”.
Stylistically, this ‘antihistorical music’, whose temporary title was The Air and the Chords, doesn’t
owe anything to any ideology of music historicism, nor to neo-avantgarde or has no inclination
towards any mere ambition of restoration. In this music, there is only emotion, memory and a desire
to communicate. In symbolic and archetypal meaning, which is far more important of any real and
calculable measure, the desert and the sea have no borders; the grains of sand of the one and the
drops of water of the other appear infinite if compared to one of us. The deep and fascinating music
by Marco Podda is a “reductio ad minimum”, but the limits of this exiguity are invisible, remote and
they will sleep away more and more.