for trombone and ensemble
2008 19' 30"
You was inspired by a collection of texts I wrote entitled “Fragments of you”. The pronoun you suggests a cathartic condition of unity paradoxically envisaged as being both a philosophical quest and an imaginary goal; the musical search being symbolically represented by the trombone.Addtional Info:
Final version re-written and expanded following the performance of the first version for sextet at Dartington in August 1992 (Composers’ Ensemble, Michael Wiegold and Vinko Globokar).
Instrumentation: Double Bass, Violoncello, Viola, 2 Violins, Percussion, Harp, Trombone, Trumpet in Bb, Horn in F, Bassoon, Oboe, Flute
for percussion and ensemble
2003 ca. 20'
Waka was commissioned from and written for the Ensemble Omega in 2003. While the music was inspired by the idiosyncratic sparsity of Japanese poetry, its form springs from a close metric correlation between musical and literary declamatory forms. The ‘waka’, or ‘tanka’, is a Japanese literary form based on a 5-7-5-7-7 verse structure, which I have used as both metric and rhythmic impulse for this work. Can music be perceived as poetry? Can sounds emulate, equal, or even surpass the evocative imagery of verbal description?
Commissioned by Ensemble Omega and first performed by Ensemble Omega, Youncher Park (percussion), Alejo Pérez (conductor) at ZKM, Karlsruhe, 6th November 2003.
Instrumentation: Violoncello, Viola, Violin, Piano, Percussion, Clarinet in Bb, Oboe, Flute
for viola and ensemble with electronics
Transparence is the concluding piece of the Trans cycle written for the Modern Art Ensemble of Berlin to whom it is dedicated. The search for transitional forms of evolution in the previous Trans pieces is now reassessed in a context defined by the viola where the previous dialectics may now be dissolved into a more translucent sonic imagery.
The world premiere of Transparence took place at the Konzerthaus in Berlin on 29th November 2014 and was performed by the Modern Art Ensemble with John Palmer (electronics).
Commissioned by the Modern Art Ensemble Berlin.
Instrumentation: Electronics, Violoncello, Viola, Violin, Piano, Clarinet in Bb, Flute
for harp and ensemble
The imaginary world resulting from legends and myths has always fascinated and inspired me since early childhood. Legends trigger a state of consciousness that detaches itself from the immediate flow of events and comes to stand out in its own reality. As if measuring oneself with another temporal space, mental representations are free to unfold onto other planes of the mind where imagination calls forth cryptic landscapes depicted in musical parables. Perhaps another means for self-discovery? Similar to a tale, in Legend the unfolding of the music narrative is triggered by the harp, the story-teller as it were, and its interludes. The music narrative is explored in a continuous unfolding of phrases and sound agglomerates shaped through a process of timbral modulation and melodic transformation.Addtional Info:
Final version re-written and expanded following the first performance at the Croydon Hall, Croydon, UK, in 1995 (Fine Arts Ensemble, Michael Nebe).
Instrumentation: Double Bass, Violoncello, Viola, 2 Violins, Piano, Percussion, Harp, Trombone, Trumpet in Bb, Horn in F, Bassoon, Clarinet in Bb, Oboe, Flute
for shakuhachi and ensemble
In Zen Buddhism a koan is an enigmatic and apparently illogical question which serves as a focus for the mind to concentrate on the problem of essential nature. The koan is presented as a puzzle that must be solved by the student in order to practise an inquiring attitude beyond dualistic thinking. I was interested in exploring a musical context where the shakuhachi sets the pace for the evolution of the poetic and psychological investigation of such a circumstance. Koan is based on a haiku form containing 17-syllable musical verses.
Selected by the SPNM in 1999. Selected by the ISCM (Japanese Section) for performance at the 2001 World Music Days in Yokohama, Japan.
First performed by Sinfonia 21 with Yoshikazu Iwamoto (shakuhachi) and Elisabeth Layton (conductor) at Imperial College, London, on 9th June 2000.
Instrumentation: Shakuhachi, Violoncello, Viola, Violin, Piano, Percussion, Clarinet in Bb, Oboe, Flute
2016 ca. 11'
Blurring Definitions defines the conclusive stage of a musical debate portrayed in a trilogy (2008-2016) that includes Hypothesis, for solo percussion and Antithesis, for quartet. Between the prologue and epilogue of this final discourse, the three central statements – afterimage, mirage and aurae – are triggered respectively by the first violin, the flute and the cello, and interconnected by two short reflections for percussion. Imaginably, concealed eloquence as transcending perception.
The world premiere of Blurring definitions took place at the ORF Landesfunkhaus Dorbirn in Bregenz, Austria, on 6th November 2016 and was performed by the Ensemble Plus.
Dedicated to Ensemble Plus on their 20th birthday.
Instrumentation: Double Bass, Violoncello, Viola, 2 Violins, Percussion, Bassoon, Clarinet/Bass Clarinet, Flute/Alto Flute