The process, we could call an alchemical metamorphosis, of the transformation of the human breath into sound and then into music, is what makes the trumpet one of the most fascinating and most emotional instruments since ancient times. It is no coincidence that the idea of the trumpet as an object generating signals (although the meaning goes well beyond the practical function), as an instrument intended to announce events of particular importance, has always been present in Western culture, witnesses are countless iconographies. The great composers of the past did not resist the charm of the instrument, and even the production of the XX Century is vast and kaleidoscopic. After this premise, the concept of dialogue must be clarified. This compact disc is in fact structured intertwining different dialogues that take place simultaneously between different subjects, dialogues that reveal themselves immediately and dialogues that remain hidden and must be sought more in depth: dialogues that intersect and intertwine with each other. An initial dialogue develops within the instrument itself, or rather in the process in which the air pressure allows the metal to vibrate and consequently generate sound waves. A second dialogue in this record is the one present in pieces in which the composition starts from a breath - as in t1 by Tae Hong Park - or dissolves with a breath - as in Metallics by Yan Maresz. Dialogue between the pieces with a solo trumpet and trumpet mixed with electronics, between scores that include the trumpet accompanied by the organ and among all these compositions and pieces created with an unusual instrument such as a huge metal cutting blade. Organ pipes and metal percussions, also instruments close to the trumpet, inanimate objects that generate music thanks to the “life” transmitted in them and on their surface by the performer. Dialogue between written pieces and instant compositions. Dialogue between the trumpet and its quadrupling as in Ricercare una Melodia by Jonathan Havey. The English composer inspired by the form of the ancestor of the fugue, using a system of delays and lowering of the octave allows audience to listen to the solo instrument surrounded by their immediate multiplication in a frantic “chatter” in five voices. The dialogues of this compact disc, which can be understood - or perhaps better listened - from the macroscopic to the microscopic, are not disjunct to each other but are intertwined to create a multisensory perception. One wonders, why multisensory? The idea of multisensoriality is represented by the same importance covered by three different aspects, read senses, within these performances: the visual, the auditory and the tactile. The auditory aspect is constituted by the sound of the instruments, the visual one by the sound spatialization, by the play of light and shadow, of distance and proximity generated by the use of the electronics and the different techniques of use of the microphones and, finally, the appearance tactile is realized in the objects used: if the metal is visible while the breath, or rather the motion of the air, it is not, the sensation that these two carry on our skin is also exceptionally different and yet so definable, so clear in the our mind. It is no coincidence that the breath and metal are so recognizable but so different that thinking of relating them, of making them dialogue, would seem absurd and impossible if separated from a musical and artistic context. The album opens with Lacrymae, a solo trumpet piece by the American composer Larry Delinger dedicated to John Dowland and inspired by the latter’s music: a ring, almost an intergalactic invocation, an “appel interstellaire” memory of the primeval nature of the instrument and use in pre-Baroque English music. A trumpet sound that materializes with a vigorous cut out of space in the ancestral silence that envelops the Universe. Subsequently the com- position Dialogo del Soffio e del Metallo is placed at the end of the four pieces that are built on dialogue between acoustic instrument and electronic sounds, the trumpet with itself and its possible multiplications thanks to new technologies: this duo with the performer Pietro Pirelli, which with its concrete sounds bring us back “on Earth” after the walks outside the terrestrial orbit and the travels in ancestral symbology. Ancestral symbology represented by the work of the prolific American author of Armenian origin Alan Hovhaness linked to a sort of “acoustic mysticism” which in the Sonata for Trumpet and Organ, opus 200, overlaps over sound agglomerates, clusters of chords, performed by the organ, a melancholic song declaimed by the trumpet and outlined, in the choice of the notes, by the development in “horizontal” of what is performed on the keyboard in “vertical”. There will now be no more doubts about the technical and expressive possibilities of the trumpet and certainly the dialogue between avant-garde and “other path” present in the music of the XX Century will be even clearer. Further dialogue between two parallel aesthetics followed by the authors of the Post Second World War period and contemporaneity. Also present in the album is the piece Contemplation 1 by the Finnish author Jarmo Sermilä, an intimate soliloquy, personal, estranged, as played in a lighthouse, in that part of our planet that comes closest to touching the stars.