Works

Triplum  for bassoon and two recorded bassoons (2016) Commissioned by Adrian Morejon, upcoming premiere at Columbus State University, Columbus, GA for the 2016 International Double Reed Society.

 

TELE for marimba and bass clarinet 10′ (2015) Commissioned by Transient Canvas. Upcoming premiere in November 4 2015 Madison, WI.

Telae Titolo

 

 

 

This work was dedicated to Transient Canvas and takes inspiration from the name of the duo. Tele, which means canvases in Italian, is a collection of twelve panels-canvases in which the initial material undergoes a process of transformation and mutation and creates the overall form of the piece. The entire work grows, canvas by canvas, in speed and virtuosity and progressively arises from the very low register of the two instruments to the very high as to create an effect similar to the vanishing point in visual art.


MILI for baroque flute and recorded piccolo, c flute, alto and bass flute 5′ (2014)

 

This work was commissioned by Mi-Li Chang and premiered on Nov.25 at University of Wisconsin-Madison, Morphy Hall.

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“Mili” for baroque flute and recorded piccolo, c flute, alto and bass flute was written with the idea of incorporating two different sound worlds: the baroque flutes and the modern flutes. This work is conceived as an Aria followed by eight short sections in which the four modern flutes are deprived of their “idiomatic” sound and always use extended techniques such as percussive sounds, key sounds, multiphonics and so on. The baroque flute and the other flutes never play together but fill each other’s empty space through the eight sections like the continuous discourse between modern and old.


Re-mote for Bb Trumpet onstage, five recorded trumpets, and applied technology 10′(2014)
Re-mote for Bb Trumpet

Video of Panels

2A 2B 2C 2D

Score

This work was written for Doug Lindsey. Premiered at the 2015 International Trumpet Guild, May 29, Columbus,OH.


Klaviertrio “L’ultimo angelo” 11′ (2011)

This work, based on the poem “L’ultimo Angelo” by Sergio Solmi, is part of a larger project that involves transposing poetic texts into grammatical structures by following syntactic and semantic rules from the text. Premiere in July 2015 by NOMOS ensemble, VIPA festival, Valencia, Spain


Per Quattro for flute, clarinet/bass cl/, bassoon and double bass 12′ (2014)

The title of this module means “for four instruments” and, more importantly, “multiplied by four”. It is conceived as twelve short movements that reflect four ways of combining these instruments. It is possible for this module to be performed starting from any of the three diagonally arranged groups of movements or from any of the four horizontally arranged groups of movements. Premiered in July 29 at the Composers Conference 2015 by the TALEA ensemble, Wellesley College, MA


Cleave for two percussionists, flute, bass clarinet, viola, double bass, trumpet, tuba, harp and mandolin 12′ (2014)

 

 

 

 

This work explores the idea of “on stage” modularity by having four instruments that are static, i.e. fixed, in their position on stage–bass clarinet, double bass, tuba and harp, and four instruments that are dynamic, i.e. move on stage in a circle (flute, viola, trumpet and mandolin).

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The first percussionist plays three groups of instruments divided by families, metal-wood-skin, and like the four moving instruments, he moves in the center of the stage from one group to another as the panels change while the second percussionist moves at the edge of the center. During the performance the four dynamic instruments and the two percussionists will rotate clockwise and counter-clockwise according to the scheme. As they rotate, they pair with a different static and/or non-static instrument producing the change of instrumental position in each movement as described by the numbered “panels” that follow.


Re-mote for bassoon and applied technology 18′ (2013)

Play with the Re-mote interactive demo

Re-mote is conceived as a work of interactive modularity with significant opportunities for audience interaction. It consists of twenty segments that can be played in a variety of orders according to audience feedback.

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There are four panels in the piece (1, 2, 3, 4) each of which contains five segments (A, B, C, D, E). The segments within each panel must be played in alphabetical order but need not be played absolutely consecutively. The audience participates by choosing which panel number will be played.


Duplum for two percussionists 11′ (2012)

The idea for this work arose some time ago while I was studying Berio’s Sequenzas and the musical vocabulary of the works of Franco Donatoni. The word Duplum carries multiple connotations that transcend its primary meaning, i.e., adding one voice to another that already exists.

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Duplum is semantically connected to the Latin word duplicare (meaning “to duplicate”). Through this meaning it also conveys the idea of something in nature that grows, proliferates, and changes into something else but maintains structural relation with its origin. Duplum is conceived in sections which I refer to as panels. In each panel there is a reiteration of “figure” (figures), that are characterized by sound, rhythmic articulation and gesture and that are passed from one instrument to another, eventually evolving into other figure.


Duplum for two cellos 13′ (2012)

The idea for this work arose some time ago while I was studying Berio’s Sequenzas and the musical vocabulary of the works of Franco Donatoni. The word Duplum carries multiple connotations that transcend its primary meaning, i.e., adding one voice to another that already exists.

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Duplum is semantically connected to the Latin word duplicare (meaning “to duplicate”). Through this meaning it also conveys the idea of something in nature that grows, proliferates, and changes into something else but maintains structural relation with its origin. Duplum is conceived in sections which I refer to as panels. In each panel there is a reiteration of “figure” (figures), that are characterized by sound, rhythmic articulation and gesture and that are passed from one instrument to another, eventually evolving into other figure.


Melosophiae for soprano, violin, viola, violoncello 13′ (2010)
Melosophiae

 

This work is the fruit of a collaboration with the Italian poet and playwright Tommaso Iorco. These five works of poetry are all characterized by being very short and incisive. They also share philosophical and spiritual contents.

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  • Nihil, describes the inner force of the nothingness, which is conceived as a dramatic spiral that eventually becomes an unfathomable internal peace.
  • Cineseria, is freely inspired by a particular Chinese poetic model, where the separated meaning of the third verse connects the first two verses and the last one.
  • Nirvana, attempts to depict a state of existing perpetually as this word wants to mean.
  • Agni, represents the internal spiritual fire that inflames, spreads and eventually dies out leaving dust of light in the human being.
  • Mártanda, describes a double motion between the black sun, toward the sky, and the sun in the sky, toward the earth, to find a stable equilibrium of opposing forces.

Arioso Mistico for soprano and orchestra 12′ (2009) (picc., 2 fl., 2 ob., 2 cl., bass cl., 2 bsn, c.bn, 4 hn, 2 tpt, 3 tbn, tuba, timp, perc, harp, strings) Set to texts of Niccolò Tommaseo

Arioso Mistico is the third work of a trilogy of Ariosi Mistici for Soprano and orchestra. There are one hundred and fifty years between each text that differently displays a mystical content.

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The first, “Traversata”, is a sonnet by the contemporary poet Tommaso Iorco. The second, “Vita Nuova” is by the nineteen century essayist Niccolo’ Tommaseo. When I found this sonnet by Pier Matteo Petrucci, I was drawn by its title: a contemplative soul is speaking. And upon reading the sonnet in its entirety, the innate duality the text depicts proved very inspiring. It starts with a demand, “reveal to me, Love..”, and it ends with another word, God. I liked the idea of having it as the very last word and I conceived this work as a spiritual journey that leads to that word. I had in mind a journey of this soul which, dialogs initially with the solo cello as a metaphor for a distant human remembrance. She then inquires to herself about her condition to find her answer in the second part of the sonnet: La povertá piú nuda è mia ricchezza. The second tercet (Mi manca ivi ogni bene…) depicts a very suspended world where harmonics are a means of purification and reconciliation.


Partita for Trio Basso, Preambulum 6′ (2010)

Trio Basso


Philosophical Pictures fragments from L. Wittgenstein’s Tractatus-Logico Philosophicus 16′ (2009)

Philosophical Pictures

The idea of writing a piece for soprano based on a philosophical text came firstly from my interest in philosophy – specifically, the philosophy of language. I sought a text made of fragments (inspired by Kurtág’s ‘Fragments’ from the writings of Kafka) and collected phrases which are logically linked from Ludwig Wittgenstein’s Tractatus-Logico Philosophicus. Despite the fact that I used a wide harmonic range for this piece, there are recurrent thematic ideas, cells organized differently, both of which create cohesion throughout the piece. In those places where the text becomes less philosophical and more poetic, the music mirrors this shift by becoming more intimate and lyric.


Oboe Etudes 8′ (2009)
Oboe Etude


Piano Quartet 10′ (2009)

Piano Quartet


Ouverture for string orchestra 9′ (2008)

Ouverture for strings

This piece was conceived as an energetic work consisting of perpetual motion which, after having found its pinnacle leads to a slow introspective section interrupted by a short recapitulation. The work ends with a coda based on the passacaglia style which eventually collapses.


 

Per dieci strumenti for wind sexect and brass quartet 7′ (2008)


Chess Symphony two symphonic movements on the chess game 14′ (2007) (picc., 2 fl., 2 ob., 2 cl., bass cl., 2 bsn., 4 hn., 2 tpt, 3 tbn, tuba, timp, harp, strings)

Chess Symphony

 

These two symphonic movements, as the title suggests, were composed as a metaphor for the game of chess. In this piece, I used neo-classical vocabulary – particularly as it relates to the sonata form and the proportions of the sections.


Love Song for double chorus 7′ (2007)
Love Song

When I decided to write this piece, the first things that came to mind were to depict a clear metaphor for love using music as the medium. If love is a metaphor which works by not following ‘symmetrical’ thought, the result is that the parts and whole resemble each other. I found, therefore, that using the Fibonacci golden section as a series would create a form which effectively displays this metaphor. The music emphasizes semantic correlations and the text is also treated as a part of the golden section, since its syllables often contain the numbers of the series and therefore, contrapuntal possibilities. I decided to compose the work for two choruses in order to display the fusion and interaction between two forces, two lovers.

Ten Variations on a Theme by Schoenberg for orchestra 13′ (2006) (picc., 2 fl., alto fl., 2 ob., e.hn, cl., 2 bsn., 2 hn. timp, xyl, cast, harp, strings)
Ten Variations on a Theme by Schoenberg


Five Bagatelle for wind quintet 9′ (2006)

Five Bagatelle


Il mondo e’ tutto cio’ che accade tautology for Chorus 6′ (2006)


Fantasy for orchestra 10′ (2006) (picc., 2 fl., 2 ob., 2 cl., bass cl., 2 bsn., , c.bn., 4 hn., 2 tpt, 3 tbn, tuba, timp, harp, strings)


Meditazione notturna 10′ (2006) for soprano, oboe, cello, horn in F, vibraphone, celesta, and percussion. Set to poetry by Rainer Maria Rilke


Fugue for wind quartet 4′ (2005)


Three variations for chamber orchestra 6′ (2005)


Three Klavierstuke for piano 14′ (2005)