compositions

Graphic score, written composition.
Serie of 10 short pieces, around 1’20” each.
The score indicates precisely gestures, dynamics and time, but leaves open the choice of the material. The form of the pieces will be most likely the same in every performance, but its content will vary from time to time.

Written composition. Four part piece, 10′.
The last section of the piece is an adaptation for three pianos of the last part from When my brain exploded, written for Piranha 2021.
Premiered at Raum 236 in Zurich on Oct 24, 2025.

Written composition. Connected to the concept of my time dyagram and delving into what started with The Rite of Strings.

Text score. See Vuoto.

Long durational site-specific performance conceived for public offices.
Performers (3 or more+1) sit in place of employees; the audience is in the ‘customer’. Audience enters the space, take a number and waits to be called. When at the bureau, he/she/they get a individual solo performance and a task. The duration of the performance is indicated as ‘opening/closing time’, as in public offices -lunch break may be included-.

Inspired by an étude from Johannes Kreidler.

Text score that explores sound textures and materials. For metal pieces, vibraphone, wood pieces, marimba, wood rattles, bassdrum. It consists of four parts:
1 – Solidification: from liquid metal to solid metal
2 – Transmutation 1: from metal to wood
3 – Burning: from wood to ashes
4 – Transmutation 2: from ashes to skin

Blues theme open for solos on the form (or anything might come from there!). Explores the connection with change of tempo and change of pitch as applyable to blues language. Uses irrational time signatures.

see below The Rite of Strings

Long durational piece conceived for Conserere Collective.
IAL is a 12 hours open air performance happening in a public park. Several musicians play individual solos, that can eventually come to interact in the distance. Musicians might hide into the green, possibly being inspired by how birds and animals un-stage their presence.

Written for Piranha.
Open form circular composition, shifting from written to completely free.

Written for Bluering Underwood.
Explores microtonality using two groups of SATB: the first tuned at A=442, the second at A =339. Explores the connection between frequencies at different speeds, meaning the relation change of pitch-change of tempo.
Below is a version of Chorale, where my composition became the first half of a co-composition by the whole ensemble.

Written for Piranha.
Minimal-inspired open composition. Allows performers to have a lot of freedom, using reduced pre-selected starting material. It is the first proper piece I developed from my time dyagram.