At every moment of the historical past, such different musics have 'happened' that no historiography will ever be able to cast light on a shared meaning. On the other hand, it also happens that works very distant in time meet, not due to proximity of language or style, but within a common emotional horizon.

This is the profound sense of this project, De l'Infinito, in which the idea is to wrap the voice and the word: in Monteverdi, the voices of the Messa In illo tempore are, so to speak, renewed by the non-literal doubling of the viole da gamba, according to a common practice from the 1500s and 1600s that is rarely used today; in Cresta, it is electronics, real-time, that performs this process of unveiling further and other possibilities of the human voice. A handover, then: from viole da gamba to electronics.

In Gianvincenzo Cresta's creative journey, the juxtaposition, dialogue and fusion of old and new music is a frequent (f)act, essentially, the voice is always at the centre of his research, even in his instrumental music.

De l'Infinito by Gianvincenzo Cresta is fragments of song, islands of sound, long trails of polyphony; it is pure energetic and expressive tension as sublimation of the word. It is a musical reflection on the Brunian meaning of the concepts of cause and principle, on what "has the being out of the composition" and what instead "contributes to the constitution of the thing and remains in the effect".

Another aspiration of this music is to elevate itself: to soar, precisely, towards the infinite as a creative utopia.