In zoological (and figurative) terms, the word ‘swarm’ - along with flocks, herds, colonies - denotes a multitude of animals, people or things in motion.

The swarm theory - born in the late 1980s and developed from studies on animal behaviour - analyses self-organized systems in which a complex action results from a kind of ‘collective intelligence’.

In particular, flocks of birds or swarms of social insects (such as ants or bees) are capable of solving highly complex problems without a central control system, thanks to the sum of elementary actions: millions of simple interactions generate a broadly complex collective behaviour, creating a sort of super-organism.

By projecting this model onto the orchestral mass, I tried to manage the overall sound choosing a multiscale approach (scale of magnitude, not musical-), in which complexity at the macroscopic level arises from the action/interaction between individual simple components, or conversely that an illusory overall immobility (in the harmonies, for example) actually hides an unceasing, internal and microscopic movement. Like cells in the musical fabric, ‘musical objects’ can be perceived differently depending on the time scale in which they are employed, immersed in multiple articulations until they vanish into the overall sound, into the swarm.