Epic Wonders is a composition inspired by everything that makes our world wonderful: oceans, butterflies, flowers, woods, people, myths, legends, great adventures... Over time modern technology has radically changed the quality of our view of the world and nature. The precious investigations of Western science, have also profoundly transformed the perception of our habitat; it has been reduced to a place to eat, emptied of all its mysteries and secrets, yet even still, forgotten, it holds...
Heidegger and Husserl claim the human being is always, within himself, a unique opening to the world. Perhaps there is still time to recover and preserve a contemplative, poetic view, in this regard. A type of glimpse that is perhaps not very "useful" to the contemporary philosophy of commercialization, but certainly the only one able to guarantee a profound dialogue with nature.
In describing the feeling that motivated me to finish this work over the years, I have found no better words than the "god Richard Wagner", and may the gods forgive me for this comparison.
In Feeling's highest agitation, Man sees in Nature a sympathising being; and in truth the character of her phenomena governs also the character of man's mood, past all escaping […].
Only in the utmost egoistic coldness of the Understanding, can he withdraw himself from her immediate sphere of operation,—albeit even then he must confess to himself, that her more mediate influence still determines him.—In his times of great commotion man sees no longer any hasard, in his encounter with natural phenomena: whereas the utterances of Nature, though grounded on an organic concord of phenomena, yet brush against our daily life with all the semblance of Caprice, and in our moods of indifference or egoistic preoccupation—when we have neither lief nor leisure to ponder on their founding in a natural concord—they appear to us as Hazard; which, according to our human purpose of the moment, we seek to either turn to our advantage or turn away as to our dis-advantage. Man deeply-moved, when he suddenly turns from his inner mood to face surrounding Nature, finds in her either an intensifying aliment, or an alterative stimulus, of his mood, —according to her passing aspect. By whatever Being he feels dominated or supported in such a fashion, to that Being man ascribes a power great in exact measure as he finds himself in a great mood. His own sense of hanging-together with Nature he instinctively feels expressed, as well, in a great hanging-together of Nature's passing phenomena with himself, with his own mood; his own enhanced or altered mood he recognises again in Nature, whose mightiest utterances he thus refers to himself, equally as he feels himself determined by them. In this sense of a great reciprocal operation the phenomena of Nature crowd together, before his Feeling, into a definite shape to which he assigns an individual emotion answering to their impression upon him and his own mood; to this shape he finally attributes organs—intelligible to himself—wherewith to speak-out that emotion. Then he speaks with Nature, and she answers him.