Sacred representation titled Laus Angelorum in two parts:

– I Laus Angelorum for organ (Alessandro La Ciacera) and live electronics (Ars Discantica)

– II Laus Angelorum for electric guitar and electronics, with Christian Fennesz.

The praise of the Angels, in reference to the architectural conception of Baroque churches, like the church of San Fedele, populated by numerous angels sculpted and painted in various points on the walls, chapels, and cornices to signify the presence of spiritual creatures that participate in the praise of God during liturgical celebrations together with the faithful, and to emphasize the Baroque vision of the union between heaven and earth in sacred space. There are angels in different places in the church of San Fedele. Above, on the two vaults, we find two cartouches with the monogram of the name of Jesus, the sacred host of God’s presence surrounded by four seraphim in a circle, the angels closest to God, in remembrance of the Ark of the Covenant. Around the perimeter of the main hall, under the entablature, at the culmination of the arches, we find five faces of angels representing the angelic choir. In the four side chapels and in the wooden confessionals, many angels of different sizes contemplate various scenes from the history of salvation drawn from the Old and New Testaments, as well as a vision of Saint Ignatius in the chapel of Saint Ignatius to my left. Laus Angelorum is a prelude in three parts. The first part proceeds in a continuum of sound bands that gradually shift toward the high register, like the voice of the angels rising toward the celestial heights. The second part is more expressive; the angels marvel at the mystery of salvation through the coming of Jesus and sing with affections that resemble human emotions. There is also a section in which a leader (or chorus) launches sequences to which the heavenly hosts respond. Finally, a coda revisits the solemnity of the first part, like a universal praise of all creatures together with the angels of God. A continuum in progression toward the high register, with seven-note chords in slow evolution, accompanied by electronic interventions for quadriphonic spatialization. A sonic evocation of the three archangels: Michael “who is like God,” Gabriel “God is strong,” and Raphael “God has healed.” A hymn of praise to God by all the Angels through the opening of all the registers of the Tamburini organ and the reinforcement of the electronics, weaving a seven-voice hymn, symbolizing fullness and completeness.