Chamber Ensemble

The formation of concentric circles on the surface of the water is one of nature’s mechanisms that stimulate my musical interests – pattern and repetition. The circles’ symmetrical formations and densities in relation to their distance from the center (more dense around the center and sparse as they move away from it), inspired me to structure the piece in two dimensions, the macro and the micro:

1 – a slow metamorphosis from a densely structured dialogue among instruments interrupted by full chords, to a more widely spaced texture interrupted by chords of fewer tones and periods of silence.

2 – rhythmic figures based on symmetrical modes follow a palindromic formation of fast –slower – slow – faster – fast etc. as these figures travel from one instrument to another imitating the flow of water and the continuity of circular formations.

Commissioned by the soundSCAPE festival.

“The path that shines” was inspired by the journey of the snail and the trace that is formed by the slime it leaves behind. The path encounters the light of day and through its shine it becomes visible. Organized in three sections, the first utilizes a motif structured on wide intervals, which gradually transform and decrease. The process imitates the snail’s body movement, which is visually clear at a close distance and becomes less evident as it slides away. Inspired also by its shape where head and tail are almost identical, a palindrome formation of harmonies and temporal units imitate the repetitive movement of its body.

At an overall slow tempo, an incremental transformation of the primary motivic material is set against repetitive harmonic and melodic figures as well as constantly reoccurring musical ideas. In other words, a co – existence between forward – moving and static time gradually becomes evident.

Orchestrated in a rather jazzy instrumentation, Rencontres departs from such an ambience and explores common musical material in terms of melodic and rhythmic motifs, intervallic relationships as well as playing techniques. At times, the saxophone is used percussively in increments of the primary motif, the vibraphone journeys upon variations of previously stated lyrical lines, the double bass abruptly appears in fast and short arco fragments interrupting its pizzicati as well as the brilliance and the metallic timbre of the soprano saxophone, vibraphone and crotales. The constant dialogue among their different personalities and the exchange of material reflect a quest for common musical elements as they travel together through the four sections.

Idées fixes first began as an attempt to create a complex and a long development of motivic material. Since the time required for completing the piece was limited, I restructured the piece on three primary pillars: Effort, interruption, retry. Similar musical ideas in terms of register, intervallic structuring and rhythmic gestures flow constantly and freely among instruments until they are interrupted either by short solo and duet sections or passages of a more percussive character. Then the dialogues start again giving the impression of a never – ending effort to evolve and expand.

The music connects short contrasted and fragmentary passages of symmetrically structured tonalities whose continuous permutations create a global sound that resembles a diversely designed mosaic highlighting areas of different colors, shapes, harmonies, dynamics and tempi. The ensemble is utilized more as an orchestra concealing the dialogue among individual voices. Broken down in short fragments placed one after another a division between sustained harmonies and passages of a dominant percussive character is evident throughout while the overall style departs from conventional instrumental writing, which could otherwise be more characteristic for these instruments, treated individually or as an ensemble.