Eduardo's work is often associated only with restrictive values with popular-folk character, and therefore
with "musical comments" which evoke an hystoricized climate and apparently unrelated to the development
that the languages have suffered in contemporary society and in particular in European culture.
But we believe that also the Contemporary Music, just because of the intrinsic universality of musical
language, can live with the universality of the contents of Eduardo's art, but in its genuine "Napolitanit"
(sort of Neapolitanism).
In this work, the marked theatricality of the Eduardo's language, is incorporated in the musical shape.
The music is the stage, and the instruments are the fictitious characters of that abstract temporal action
that the Music generally evokes everytime it's represented.
The voice, in such context, has the same function of the instruments, but evokes, through the words and its
meanings, a parallel dimension, expressed by the story, or rather, by the succession of the various moments
which constitutes the action.
The music neither wants to emphasize the actions evoked by the text, nor wants to comment them, or be a
background of them, but the music itself is the story, the impossible scenario of its abstract nature,
the imaginary scenography in which the vicissitude told in this lyric of Eduardo takes shape.
At this point also the relations test-music become abstract and beyond the single moment.
The imaginific powers of the two used languages, the word and sound, find possible relations only outside of
the capacity, which is specific to each of these languages, to only express itself.
So, rationalizable relations can be found, for example, in the relationship between the irony of Eduardo,
which through the comic often treats of tragic, and the ambiguity, the compresence, or the dialectics between
consonance and dissonance, or between structural symmetries and asymmetries that characterize the
whole formal arc of the Composition.
Other possible relations are to be only sought in the irrational subjectivity of the evocative listening moment.