We need to work together." And then when I had this idea for Sanctuary, he was kinda one of the first people that I thought of because, because also that, that whole tradition was one of the reasons why I thought of it at all.

The reason why Rhiannon invited me also was because of my connection with pizzica, with the music and the dance.

It's themself sanctuary in a way.

So I brought the pizzica, this rhythm, these elements to the, to the circle of musicians at Silk Road.

The tamburello is the main, uh, rhythmical, uh, actor, and it's really, uh, you know, it's a sort of a trademark of, of this music, and I'm gonna play the rhythm for you.

Violin is the main melodic lead, but in truth it takes also quite the rhythmical approach, especially with the bowing techniques, and which work around these triplets, and there's different ways of playing triplets.

And, you know, in, you know, in all my years, uh, practicing and s- researching and studying pizzica, I came up to create my own ways to play this kind of music, these triplets, these melodies, and then im- uh, always improvising by using micro variations, which could, uh, uh, make, um, something repetitive always interesting.

In the piece Mauro wrote for us to perform in Sanctuary, he used what makes each of us unique to enhance the art form of pizzica that he inherited from his family.