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Solo instrument
with or without Electronics
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for Electronics
from 3'00" to infinite (loop)
First performance : Internet Podcast
New York Miniaturist Ensemble
Internet podcast Link
Program Notes
Lieve is a work realized with a software for physical models synthesis (Modalys) It build virtual instrument(s), in this case a collier with a lot of grains of the same material but differents dimensions that changes on time, its are played one by another in a given space, randomly through ideally infinite. This limited physical resonant space produce a ligth delimited complex sound space and a psychological open space so, the listener approach the headphones finding an inner place, He can listen this sound/physical/psychological place in active way ( looking for the complex timbral/rhytmic changes ) or in passive way ( lisening only a delimited soud space ), he can also fill this sound with his psycological experiences or only have a simple listen experience.
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Estensione I ( 2006 )
( quasi un recitativo )
for a Flutist
9' ca.
Score (first page)
Program Notes ( Note for the player )
"Estensione I" is a music theatre piece for a flutist, not a piece for solo flute, so it's very important to emphatize all the gestures, you should play this piece as a recitativo, a soliloque, like if the flute is an instrument augmentation of your body that deform your words, you things.
You should search for a dialogue with spaces around you, each space with his character, his words, you have to find and to do connections among these spaces.
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for Electronics
5'51"
Audio (extract mp3 780KB)
Program Notes
EsbiST I est une petite suite acousmatique apres le ballet de Yuval Pick Strand Behind,
le spectacle est termine,
le plateau est vide et des fragments de memoires du passage des danseurs dans l espace du theatre se revelent...
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( EsbiST II )
for Electronics
2'50"
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( EsbiST III )
for Electronics
1'25"
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for a Percussionist, 10 dancers and Electronics
20'ca.
Coreography by Yuval Pick
Score (first page) Audio (extract Part II mp3 1.4MB)
First performance : Lyon, Febraury 2006 Le Tobbogan
Perc. : Romeo Monteiro
Jeune ballet de Lyon
Edition Suvini Zerboni
Program Notes
Musique,
danse,
Expressions ancestrales de l"existence de l"homme,
langages soustraits a l"encombrement d"un signifiant syntaxique,
peu corrompus par les regles propres au jeu social.
(...dix interpretes explorent l"espace de leur liberte...)
Confrontations, comportement, recherches d"un "soi" et d"un "autre",
se retrouver, surtout, dans un espace commun,
participation a un souvenir partage, ou le temps marche en crabe,
sa fleche epousant la direction du regard,
c"est la curiosite d"un paradoxe non lineaire.
(...ils donnent des signes, des couleurs, dans l"apparition des associations et combinaisons fragiles
qui les constituent a des yeux caches dans la penombre d"un theatre...)
Un rythme,
breve illusion d"un point d"appui grave par le hasard,
Un geste,
pour se souvenir que dans le "maintenant" chaque chose
a une cause et une consequence.
Andrea Vigani et Yuval Pick
Lyon 26-11-2005
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(I)rrealta possibili ( 2004 )
for Electronics
9'ca.
CD Elettronica Italiana 1 (EMI Music)
Audio (extract mp3 1.4MB)
First performance : Rome, September 2004 Goethe Institute
Program Notes
Inside a virtual piano belly, among (re)constructed strings and mechanical parts, crazied sounds in fragments and mechanical memoirs chips
(...rugged and raw situations, and having accepted them as part of your home ground, then some spark of sympathy or compassion could take place...)
there, surfaces and strings are played by white noise, plectra and hammers of any materials, fingers, real piano samples, modulated sounds and harmonic clots
(...you are not in a hurry to leave such a place immediately...)
on illusion that all is real, outside, maybe the player is playing a Skrjabin Etude, on white and black keys, and here, also the rustling noise take shape and sing around as a far choir
(...you would like to face the facts, realities of that particular world...)
but the laser jam, the syncro crash and these walls of nickel and copper seem implode; a doubt of reality creep like a vacuum
(...the vacuum that manifest its effective existence with the perpetual rustle of lightning apparitions of all thepossibles, of wich it is infinite reservoir...)
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Muser d hiver ( 2001 )
for Viola
11'ca.
Score (first page) Audio (Extract 1.7MB)
First performance: Frankfurt, November 2001
Viola : Valerio Sannicandro
Violin version
First performance: Milano, November 2005
Violin : Pirro Grykondi
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Cinque post scripta ( 1999 )
for Clarinets ( 1 player ) and accessories
9'ca.
First performance: Lodi, June 2001 Festival ContemporaneaMente
Laboratorio Novamusica Ensemble
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Intensi frammenti di parlato idiomatico ( 1996 )
for Bass Clarinet
14'ca.
Score (first page)
First performance: Perugia, May 1997
Bass Clarinet : Guido Arbonelli
Agenda Edition
Tenor Sax version
First performance: Bassano del Grappa, February 1998
Tenor Sax : Massimiliano Donninelli
Program Notes
This piece is an attempt to reconstitute in a real time ( the time of the performance ), a sonority, a melody, a form, a memory..., starting from a few Intense fragments of spoken idioms or, better, the representation of this way. I have divided this way into four different parts ( Quadri ).
I The first fragments appear and the re-construction and re-elaboration process begins, and this both from the side of the performer and that of the listener. This first part ( Quadro ) has a rhapsodic character and must be played in a nearly improvising way, as trying to recover a memory of a piece already heard or performed in a far-away time, without expression, hinting. Moreover, it is very important to strongly characterize the different Idiomatic characters, who are present in this piece ( breathe, shadow-notes, melody-fragments, range and time changes, etc... ) in order to make them recognizable when they will appear again in the subsequent parts ( Quadri ). It will be necessary to perform the choruses marked as a temporary interruption of the memory flow, as an old vinyl grooved record, with the pick-up that got jammed, in an obsessive way. Consequently, the notes that follow these choruses will have to be played as when the record starts playing again, as an outlet of the tension created by the chorus.
II Strong differences in comparison with the previous part ( Quadro ), this is infact the piece already heard or played, it is the presence of the memory we looked for in n I.The sound must be always present even in the breathes or in the pppp, alwas expressive. In this case, the choruses have another sense : they must be momentaneous "doubts", sudden"relapses" into the previous situations, they must "undermine" the already acquired certainty, the certainty of the melody, of the form, of the memory, etc..., that have been refound and that are present.
III The refound sound in the previous part ( Quadro ) becomes a shadow, slowly fades and vanishes, so everithing must be played up to the limit of audible. Now, one comes back to look for what he had refound, one tries not to make it disappear again, but not with the tranquillity present in the first part ( almost without the expression that is given by the fact that, at the beginning, we did not fully know what we would have re-formed and re-built ), butwith the agitation and the fear to lose again something that we had long looked for and just re-found.
IV The self-cousciousness of the re-loss of a memory must be performed without expression. This non-expressivity must be different from the first one, as it is the result of a loss, of a memory told to a stranger and lost by playing it cards.
Now, inside this way, we have forever re-found and re-lost something that belonged to us in a moreor less remote past, but we have luckily created new Intense fragments of spoken idioms that, in a more or less future, will enable us to re-create additional possible representations and to go on playing cards our memories with a stranger.
Tre prospettive ( 1995 )
for Piano
14'ca.
Score (first page)
First performance : Oslo, October 1995
Piano : Nils Anders Mortensen
CD NRK
Program Notes
I wrote this piece after a lecture on few reflections of J.Brodskij on Venice.
He observed the decomposition of the facades of the venetian palaces in the reflections on the water of the canals.
The structures, the forms and the colours of these buildings were distorted and re-created by the wawes; the images were melting and re-forming one another; so the past ( the ancient different palaces ) was born again in the present just like something new ( the reflected images ) and was obtaining a stronger unity ( through stuccoes and other various materials to the unity of the water ).
In the reflected images the content is not-existent or, rather, it goes together with the reflection itself and this is the first condiction of music ( the significant coincides with the significance and in addition the musical emotion arounses sentimental images : these images will not in any case be linked to particular feelings.
Music has definitively broken the pact with imitation : this fact enable sit to face the form (Schopenhauer)).
Imagine to took at a picture representing a night landscape.
At first you will see some SHADOWS and lights on different planes ( near, far ); later, pushed by curiosity, you will approach one of them and you will discover that it holds a moltitude of REFLECTIONS, a thousend of hue, it has a own life, it is a shadow-world inside a picture world.
Now the secrets of that shadow belong to you too, they are part of you and even when you depart you will take them with you, they will be LANTERNS in your memories and they will accompa you in the discovering of other pictures.
This picture is the world that we have around us, where there are shadows, persons, objects, landscapes, piano music, moments...
...she realized that though this was a picture from wich, once entred, you never returned, it neverthless possessed its own astonishments and conjurings, its towers and closets, and ever more pathways, more gardens, more doors...
Chamber music
with or without Electronics
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( Estensione IV )
for Flute, Violin, Bb Bass Clarinet and Cello
8'30"ca.
Score (first page)
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( tre brevi commentari )
for Flute, Clarinet, Cello, Oboe, Vibraphone, Violin and Piano
5'ca.
Score (first page)
First performance : Torino, November 2007 Teatro Baretti
Fiari Ensemble
Cond. : Marilena Solavagione
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Cinque frammenti ( 2005 )
for Flute, Clarinet and Electronics
10'ca.
Score (first page) Audio (Extract 1.6MB)
First performance : Boston, March 2006 Paine hall Harvard University
Flute : Patti Monson
Clar. : Gary Gorczyca
Hydra diffusion system
Edition Suvini Zerboni
Program Notes
Un endroit, un coin de roue, ses memoires
Personne qui passe
Histoires
Actions
Attentes
Esperances
Cinq photos de cet endroit dans cinq moments dans le temps
Point fixe dans le decomparire des visages dans la roue
Seul ca
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(S)oggetto M ( 2005 )
for Harp, Accordeon and Electronics
7'ca.
Score (first page)
First performance : Rovereto, October 2005 Festival Mozart
Duo Millemiglia
Edition Suvini Zerboni
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Tre piccole pieghe del tempo ( 2005/06 )
for Ensemble (Fl, Cl, Vl, Vc, Piano, Perc.) and Electronics
11'ca.
Score (first page)
First performance : Edenkoben, July 2005
Ensemble Aventure-Freiburg
Cond : Roland Vendroux
Program note
Three small stories of sounds, hints looped into time developments, a non-linear time, measured or immobile. Real.
It appears between the differents regular beats, to look itself in another time, before or after, looking for the more exact instant.
Into these folds, memoirs and future mix itself between the methronomes sound, to build, maybe, the present of a listening, a life.
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Tratti ( 2004 )
for Soprano, Ensemble and Electronics
18'ca.
Score (first page) Audio (Extract 2MB)
First performance : Paris, December 2004 Grand Salle Centre Pompidou
Ensemble Intercontemporain
Cond. : Jonathan Nott
Sopr. : Claire Booth
Electr. : Alexis Baskind
Program Notes
La voix, premier instrument de l homme, tend a entrelacer les sons en paroles ou en chant dans la complexe construction d un langage devenant lui-meme personnage et non personne, les traits de sa silhouette etant les traits de l encre tracant les contours des mots, ses yeux des virgules et points, ses mains un accent sur un a et sa vie, le bruissement d un stylo sur le papier.
Personnage et non personne, vivant dans le temps et les espaces de sa representation, dans ces lieux resonnants, plis dans le papier, qui recomposent les memes lettres en de nombreuses combinaisons- dictees par le hasard, par un libre arbitre ou par de raffinees syntaxes sous-entendues, lieux resonnants qui forment les traits d une societe faite de mots et de leurs sons, les traits d un caractere, d une emotion, d une visage de femme prisonniere des pages d un livre, de la poussiere d un theatre ou des photogrammes deun film.
La voix, premier instrument de l homme, dessine des trajectoires dans son dialogue avec les espaces, nous revele les plis eloignes de ce langage, peut-etre les traits d un esprit, qui, si nous faisons un peu plus attention, ne sont pas si dissemblables du visage assis ici a cote, maintenant, dans cette salle de concert.
Focalise ( 2002 )
for Fl, Cl, Harp, Harpsich., Piano., Perc, 2 Vl, Vla, Vc, Samples, amplificated and spazialized
9'ca.
Score (first page) Audio (Extract 856KB)
First performance: Brescia, Teatro Grande
Cond. : Vittorio Parisi
Dedalo Ensemble
Program Notes
This piece would like to be a physical abstract reconstruction, in the concert hall or in the performance place, of a virtual mechanical instrument, with audience put inside its belly, between gears...Focalise...in this piece the ensemble instruments should be thought as musical rollers of an old and shobby Barberie organ into disuse, a street instrument, that met thousands hosty glances...maybe in a station...a moltitude of fragmented stories...maybe in other places...few stealed seconds to the usual daily chaos, it given a sweet mechanical music to passing faces, out of time, a music able to break the time linearity with the lightness of an ancien and noble poeticality...it stealed to wayfarers conversations fragments, diverted looks, road informations, shreds of dreams, hopes and delusions, putting all into its mechanical memory, changing with time its rollers tabulates; its music moulded by encounter with random lifes...Conductor play it, trying to focalize, among crazy chips of rusty sounds and shreds of mechanical memory, the ancien beauty of a popular waltz that, like all the beautiful and affected think, reveal itself in a hint, to become a beautiful memoirs...
Aah, l amour... ( 2002 )
for Soprano, Piano, Piccolo, Bass-Cl, Vl, Vc.
1'ca.
Score (first page)
First performance: Pescara September 2002
Tactus Fugit Ensemble
CD Imperfect Record L ironia e la musica
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Another hard day for a carillion dancers ( 2002 )
per Sax ten., Piano, 2 Vl., Vla, Vc
2'ca.
Score (first page)
First performance: Pescara September 2002
Tactus Fugit Ensemble
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Buona giornata anche a voi ( 2000 )
for Tp, BbCl,/Bass Cl/Eb Cl, Vl, Vc, Perc., Synt., Piano
13'ca.
Audio (Extract 592KB)
First performance: Chateau de la Napoule, August 2000
Ensemble Aleph
CD International Composer Forum I
version for Fl/Picc/G Fl, BCl/BassCl/Eb Cl, Vl, Vla, Vc, Perc, Guitar, Piano
First performance: Brescia, Teatro Grande
Cond. : Vittorio Parisi
Dedalo Ensemble
Program Notes
7 A.M. I wake up, I cross my kitchen floor, I drink coffe and lemon juice, brush my teeth and blow my nose...
...What's the Planet news?
they bankrupted the sky, the ozon layer fades, this town's already dead,this country's on the skids, I can't feed my Kids...
(...these days steal everything, people steal your wallet, your watch, break into your car steal your radio suitcase, steal your life, your love...you...you gotta worry...)
now wash my face, dress in my suit on time for going out, turn the doorlock key, go down hallway stairs, enter in the city, walk in the traffic,
a rush of tires and car exaust on the street...
...delighted to be alive this cloudy thursday...
well...well...
maybe today will be really a nice day,
I'm almost sure...
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Muta d accento...e di pensier ( 2000 )
for Female Voice, Bb Cl, Bassoon, Tp, Trbn, Vl, Cb, Electric Guitar, Perc, Harp, Keybord
15'ca.
First performance: Verona, Festival Futuri, June 2000
Voice : Cristina Zavalloni
Cond. : Daniele Belardinelli
Ensemble dell Orchestra dell Arena di Verona
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Passaggi Veneziani ( 1999 )
for Fl/Piccolo/G Fl, Bb Cl/Bass Cl, Viola, Perc, Piano & Live Electronics
13'ca.
Score (first page)
First performance: Roma, June 1999 Biennale dei giovani artisti dell Europa e del Mediterraneo
Cond. : Andrea Vigani
Live Electr. : Sylvian Sapir, Stefano Bassanese
Program Notes
...Da gesellten die Musen sich gleich zum Freunde; wir pflogen AbgeriBnes Gesprach, wie es den Wanderer freut...
J.W.Goethe
Personne a rien a faire ici.
Ni une luette doree ni la douce Duse.
Un talon solitaire frappe sur le pave.
Votre ombre, comme un tremblant carbonaro s eloigne de vous sous le fanal et expire vapeur.
La nuit nous parlons avec notre meme echo :
le souffle chaud nous eclabousse le verre transsude de cet aquarium en marbre, vide, ideal pour chaque resonance.
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Graffiti I-IV ( 1995 )
for Strings quartet
8'ca.
First performance : Amsterdam, November 1996
Utrecht String Quartet
CD Tau Kay ( Interensemble String Quartet )
Tau Kay Edition
Program Notes
The score is written in a mixed notation in reference to its happening inside its time, it gives the performers a number of sonorous cells belonging to different types of musical syntax ( from tonal chords to Jazz situations, from modal passages to typical structural music concatenations, etc. ), inserted inside a temporal grid that is delimited by traditional bars with metronomical indications, or by indications in terms of seconds. These cells, are taken out from their original historical/syntactical context and replaced into a new temporal dimension ( J.Cage : Contemporaneousness means that a unique thing that presents itself to us, no matter how far its origin is, aquires a full presence thanks to the rapresentation in thetemporal now ). This new present temporal dimension -a new historical/syntactical context- isn t subject to law spertaining to any of the original syntaxes of the different cells ( tonality, counterpoint, twelve-tone music, algorythmic systems, etc. ) and neither to the sum of two or more of these wholes of regulations. This new present temporal dimension can inted be componed with a Graffito, formed by forms and signs coming from different cultures, linked by a simple process of bringing them together. We have therefore come to understand what the new syntax is, in which the sonorous cells are replaced : the Form. Usually, language, grammar and and syntax generate the form, while, in this case, the form is the rule that regulates the syntax, and consequently, the relationship among the different sonorous cells. At the beginning we have noticed that this piece -in reference to its happening inside its time- is written in a mixed notation, then we have a margin of temporal fluctuation of sonorous events and, conequently, a formal fluctuation. Now as we have already seen, the form is the syntax of this piece; we however have also seen that the form is not fixed, stable, this way we have a real time construction for every performance, both for a new piece syntax an for a new form. The performers will have to reconstruct ( repaint ) the Graffiti and underline, more or less, the way of alternating, of superimposing and of changing of the two main musical situations :
1) Bakground-surroundings-aura-uniform
2) Elements set on different musical levels. In this way the performers will recreate an emotional-temporal-remembrances-experiences-contaminations of the two past main musical situations ( iconography ) will form a present new musical situation/emotional state.
Orchestra
with or without Electronics
for Strings Orchestra
5'ca.
Score (first page)
First performance : Gallarate, November 2005 Festival IncontrArti
Orchestra Camerata dei laghi
Cond : Andrea Vigani
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Scorci d una risonanza ( 2003 )
for Oboe, Chamber Orch. ( 1 Ob, Pianof, Perc., Archi ) and Electronics
10'ca.
First performance : Milano, December 2003 Sala Verdi del Conservatorio
Cond. : Paolo Volta
Ob. : Francesco Quaranta
United Europe Chamber Orchestra
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Traduzioni Temporali ( 1999 )
for Orchestra ( 2/2/2/2 2Hr, 2Tp 1Perc, Timpani, Archi, Tape )
13'ca.
First performance: Milan, June 2000 Festival 5 Giovani compositori per il Giubileo
Voice : Elena Bakalova
Cond. : Pietro Mianiti
Orch. : I Pomeriggi Musicali
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Preludio a suoni rituali ( 1998 )
for Small Orchestra ( Solo Vl, Perc, Piano, String quartet, Strings )
8'ca.
Score (first page)
First performance: Milano, May 1998
Cond. : Alfonso Saura Llacer
Orchestra da Camera Milano Classica
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Fondamenta Nuove ( 1997 )
for Cello and Strings ( 4/3/2/2/1 )
12'ca.
Score (first page) Audio (Extract 876KB)
First performance : Amsterdam, September 1999 Gaudeamus Music week
Cello : Michael Muller
Cond. : Peter Eotvos
Dutch Radio Chamber Orchestra
Program Notes
This piece has perhaps to do with the breaking - up of light and sound, with the birth of colours, it has even probably to do with Leonardo da Vinci.
...according to Leonardo, light has never been an abstract ray moving in man s mind and eye, but a radiant sea that, in any case, continously interacts with matter. And matter, objects, men, countries cannot be represented by the continous, precise light of their outlines but only by the continuos vanishment of their surfaces...
This piece has to do with memory, it is a backwards journey into my memory, a journey that has, as a starting point, a coffe-bar in Venice located in Fondamenta Nuove and, as an arrival point, a Levanzo bay, a small and savage island South of Sicily.This journey is a way that links two opposite typologies of light, sounds and colours : Venice, the breaking-up of matter on the still water of canals; the transformation of every image and colour into a small plug of a self-moving mosaic, that continuosly changes, disgregation and aggregation of echoes and reverberations...and,
as a tinkling of tea-sets, one hears the sound of venetian churches in a box of casual lives, at night the Adriatic sea fills the canal to the brim, as a bath-tub, rocks the boats as cradles, you sinkling town, where the brother of Nothern Sphinxes, a winged and learned lion does not shout With whom are you?, by closing the book, happy to drown into the lapping of mirrors
...and Levanzo, a direct light, clean, defined, pure colours, that are even made accentuated and rarefied by the longer distance of memory...a lonely bay;
not more than five sailing boats, fishing nets, bed-sheets like, hung out to dry, sunset, old men watching the soccer match in a coffee-bar, the blue bursts into the border, beyond the star catches fire...
This piece, and this way, perhaps represent a self-staying colour, between the blue and the violet : the indigo, a very beautiful name but a colour that has never existed, as in the temporal way of the performance ( from the present time to the future, in becoming ) a reverse way is made, in the memory ( from the nearest past to the remotest one ) creating a sort of a-temporal bubble, even if
...in the short of a sea compressed in the body of the map; a mollusc shell left on the sea-bed, with the hidden face, enchanting with the play of the back, Time comes out of wawes, changing the hand of the clock of the concert-hall and only to that hand, until coffe cools in the pot, the lagoon is lapping, punishing with owing to the anxiety to fix this lanscape in the memory, a landscape capable not to need me...