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"Constant evolution under the sign of great consistency: this might be proposed as an extremely synthetic definition of Teresa Procaccini's music. Every work she produces clearly belongs to the time in which it appears yet she still keeps faith with formal classical values and with a melodic manner expressed without any complexes. The sort of "chameleon syndrome", so common in musicians of our century, is quiet alien to her, for, while she keeps up to date in various technical aspects Procaccini never fails to be herself. Technique never becomes a tortuous structure, never an end in itself, but is a stimulus: this applies both to her idiom and to her knowledge of the various instruments and in the end represents the suggestion of ever new and exciting situations, a stimulus for imagination. The last word, then, is always reserved for inspiration. Throughout Procaccini's productive career invention has always travelled along a twin path: the path of rhythmic impulse which feeds on moods dear to such as Bartok and Stravinsky, and the path of poetics whose basis is whorthy of the finest italian tradition. All of this, as we have said, does not include technical evolution, which manages to combine with more traditional aspects without prejudicing the comprehensiveness or the listening pleasure of her work. This evolution is detected in the ability to absorb and incorporate stylistic features which, at a first glance, might seem incompatible with Teresa Procaccini's idiom. Even dodecaphony must as an idea have influenced some of her compositions whose merit, however, rests on the importance given to expressive concerns which are neither decorative, nor scientific, nor didactic, as they generally are in avant-garde music. Even her approach to individual instruments is based on solid technique, though we regularly find wholly new solutions. The composer does not favour any particular instrument but time by time gives proof of her thorough knowledge of them all and her ability to bring out their characteristics in explicit discursiveness" Virgilio Celletti
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