The performance consists of classical music played by a guitar that creates sound spaces between the ancient and the contemporary, all within a physical space which is delimited but at the same time multiplied by reflective surfaces.

The material works made by Samuel Moretti are made of stainless steel, aluminum and cement, and arranged so as to create a real fence of fragmentary reflective surfaces (within which the musical performance lies) that impose their reflected image (and the musician’s and performer’s one) to the observer.

At the end of the performance, the chance of the “user” to get closer to the works will put him clearly and distinctly in front of his own image’s reflections, causing him to make apparently simple and unconscious gestures as settling his glasses, hair, or even just enjoying or

rejecting his image in the mirror, up till completely ignoring the surface (the work, in this case) and focusing on what is inside it.

Subjecting the bystanders to a forced enjoying of their reflected image, for a time on average higher than that which one is normally used to, has the aim of imprinting a soul research, rediscovering one’s Self. All surrounded and encouraged by music, that, plus to being a bridge between ancient and contemporary, requires an ability to listen which is automatically internalized.

The real skeleton of the whole concert is a Suite by J.S. Bach (in this case the BWV995) where, between a movement and the other, the compositions of the Master Luca Lampis have been added, in which the thematic material of the movements just executed, are reworked in a contemporary way. This type of process thus gives rise to a sort of musical reflection of the Suite of the Master of Eisenach.

The physical and musical Reflections, composed through the union of two noble art forms, generate a unique experience of multipleperception.