Contemporary Chamber Music 2 by Various Artists

In Highwire, you'll hear music that is toppling, teetering, lurching, and balancing, in ways that are indicative of life in the modern world as the composer himself feels torn between different worlds: Classical music and pop music, academic and non-academic worlds, much like a reflection of life in 2019 which the composer define "...a balancing act."

The work is inspired by the composer's childhood memories mixed with new adult feelings. Some images are the hometown that the composer has left and long missed or the rarefied dust treading on the air...
Using the composer's words "...the first thought: my spring trip in elementary school. However, the naiveté under the fresh white pear blossoms and the sense of an unknown future have by now left me."

Interlude and Tablet V is taken from Will Frampton's dramatic song cycle Enûma Eliš (‘When on High') which sets of extracts of the ancient Babylonian myth of creation. Through three parts, we follow the narrative of the universe’s origin.

Interlude and Tablet V is the centre of the work's triptych. The Interlude is a short duet for flute and cello which flows seamlessly into Tablet V. During this movement the moment of creation is marked by a virtuosic vocal cadenza and three strikes of a bell, representing the creation of three planets. Dating from around the 12th Century BCE the text was recreated by Dr. Martin Worthington and is masterfully delivered in the extinct Babylonian language by soprano Rachel Duckett, accompanied by the world-class instrumental playing of the Marsyas Trio.

De olvido siempre gris [2019] – for a cappella vocal quartet is dedicated to the AUDITIVVOKAL Ensemble.

The piece is inspired by the "lunfardo" (jargon originated in Buenos Aires – Rio de la Plata), which emerged as a result of the various immigrations that occurred in the region during the XIX century. Lunfardo mixes words from native peoples, gauchos, African and French.

During the piece, the words are explored in terms of their sonority and not in their meaning. Only in brief moments we can hear fragments of sentences with a concrete meaning, although they disintegrate in the timbral treatment. At the same time, the spectrally complex sound evokes the image of the "porteños", the chaos of Buenos Aires, expressed in different ways in each section.

The imageries of spectacular fractal designs and the theories behind them inspired this composition.

The term “fractal” was first used by mathematician Benoît Mandelbrot in 1975. It was based on the Latin term frāctus, meaning “broken” or “fractured.”

A fractal is a never-ending pattern. It can evolve into complex patterns that are self-similar across all scales in an ongoing feedback loop. Fractals are also widely observed in nature in forms such as clouds, trees, mountains, seashells, etc.

A quartet for soprano sax, alto sax, tenor sax and baritone sax as a tribute to the jazz language that has been enriched in a decisive way by the four types of saxophones.

QUARTETTO is characterised by three movements (Tempo di Swing – Tempo di Ballad – Tempo di Mutazioni) and is dedicated to the Fortissimo Saxophone Quartet (Fabio Calzavara, Caterina Villari, Anna Righetto, Emma Nicòl Pigato) which was the protagonist of the composition's first performance in 2019 in Istrana (Treviso), Veneto Region, Italy.

“Pas de trois” or “Pas de deux” – in the field of ballet – means a dance performed by three or two soloists of equal status. With the title the composer wants to express the character of this piece, music for three musicians “of equal rights” or of equal status.

Written for Augsburg University “Leopold Mozart Center” woodwind trio consisting of oboe, clarinet and bassoon, a type of chamber ensemble not very common in Germany and other countries of Middle Europe, but quite common in French-speaking areas.

“Pas de trois“ is a cyclic work, its movements are connected by numerous common features in the material employed like motifs or harmonies. The first movement, formed as a free prelude, is followed by a “contemplation” with each instrument performing an “internal monologues”. In the third movement is the more spirited one that ends the trio in a unison after a number of exchanges of patterns and harmonies.