MUSIC

compositions' list and performances' archive

… a drop on my fingers, two lips as a fuzz, a sun on our heads (is the pattern)

[2026]

for ensemble and lights (25')

commissioned by KNM Berlin

A large percussive sound lies at the core of the composition. Large not in volume, but in terms of

harmonic structure and resonance. A slow exploration of these spectral elements —each time

within increasingly narrower circles— feeds the very shape of the piece.

At times, windows open, and time seems to pause. And through these cracks, sharp beams pass

— like reflections of light that are nothing more than reminiscences of the original sound.

__________

A memory play. As time passes and memory fades, only traces remain — of what came before,

and of what is yet to come.

Memory as body, and memory as voice.

The large sound is ultimately revealed at the end. Large because it is infinitesimal.

The final circle lies beyond time — just as the sun lies beyond the universe and above our heads.

Evaporated sound.

Six movements

[2024]

for clarinet and piano (2')

composed for ensemble sillages

composed for Festival Mixtur, Six movements are thought as sketches for a possible longer work, consisting of six part; still, the miniature stands on its own as a complete piece of music.

acts as facts

[2024]

for clarinet, percussion, guitar and double bass (11')

composed for àktapha

acts as facts is a process work, in the sense that much of its form and material is meant to be determined through a constant

feedback between the composer, the performers and the audience.

In acts as facts, my role as a composer is not that of an ultimate creator, but rather a sort of a doubter. Doubts raise from

more or less fixed relationships between sound, gestures, form and dramaturgy. These doubts don’t seek for a definite

answer, for the risk of suggesting another establishment is evidently present.

Through the creative process, the rehearsals don’t aim to a fine result but rather to throw light to dark corners of sound and its dialectic.

Every performance of acts as facts each time is meant to highlight different paths, and thus suggest another turn of events.

supported by SKE fonds

...sans fin

[2023]

Hommage à Josquin

for alto, two tenors and bass (15')

Composed for Cantando Admont

...sans fin pays hommage to composer Josquin de Prez.
It drives material and inspiration from his œuvre as a whole, but also from certain works, such as his mass Missa L’homme armé super voces musicales, Mille Regretz, El Grillo, Nymphes des Bois, Miserere. In addition to the musical material and Josquin’s techniques, it borrows fragments from the lyrics of the aforementioned pieces. Besides any reference, ...sans fin tries to transcend Josquin’s essence in a personal sound world, through his main medium: the choir. Beyond melodic lines and harmonic progressions, this is a piece of melting sound spheres that dissolve into thin air. In their microform, the patterns repeat themselves before ending in a resolution, meant either literally -in a purely music sense- or metaphorically. To this direction, cadences and formulas clearly addressing Josquin’s techniques serve as a guide, in order to give more vague processes a similar meaning.

...sans fin is dedicated to my dear teacher Panagiotis Adam, to whom I owe most of my knowledge and love for Josquin.

The whole piece is a lament, sunk in an unending sorrow where death is anticipated as a sweet sleep.

supported by Bundesministerium für Kunst, Kultur, öffentlicher Dienst und Sport

download score extract

supported by SKE fonds

tragicomedia amorosa. six scenes