Partita 3 for solo cello: preparing the performance after the notes on energy flow

The article reports the process of constructing the performance of a piece about to be premiered from the dialogues between the composer and the performer, from the most prosaic to the most conceptually elaborated. The main issue to be explored is the concept of ‘energy flow’, which permeates the whole discussion. The concept starts from its conception by the French philosopher Gilbert Simondon and reaches applicability as a mediation between the compositional act and the performance act, functioning as a framework that escapes from linguistic referentialities or quasi-romantic subjectivisms. In this way, we aim to present the concept in operation, besides presenting an anatomy of the piece itself, which runs through the compositional thinking and the thought involved in its performance, offering a deeply collaborative analytical approach.