First of all, this is an extremely elegant selection, that should not be feared: the already famous piece by Gubajdulina is clearly not an allegro; yet, it is deeply projected into a dimension of pure poetry, whose unique colour and impressions provided by the accordion make passionately fiery, despite its abstract form. Therefore, we soon lose sight of the original funereal feel, thus having time to enjoy the piece and to be amazed at Telari’s execution: a young talent, able to skillfully juggle between arcane and somewhat popular shades, fits of hysterical joy and plunges into gloominess. Combining this with Volodymyr Runchak’s Requiem is a particularly clever choice, that also results in an immediate and reciprocal “resonance” with a 30-year older author. A less visionary piece, nevertheless belonging to the same sound dimension: mystical references and hazily ancient-flavoured, corrosive hymnodies, and a richness of contrasts which induce a composed and interiorized listening, free from any anxiety. In fact, the whole itinerary flows brilliantly (included the beautiful homage by Turi). Even historical reinterpretations (especially Schubert’s) are given a touch of modernist madness.