Works
Solo/Duo
elegia sulle quattro note pesanti
for violoncello
(New York, USA - 2024) 5 min.
It's an elegy on the name of Bach ('the four heavy notes').
pressioni [III]
for solo piano
In four movements (Washington DC - 2023) 25 min.
pressioni [II]
for solo piano
In three movements (Baltimore, USA - 2022) 15 min.
Sinuous, Straight, Solar
for soprano sax and piano
Written for Tae Ho Hwang (Baltimore, USA - 2019) 8 min.
With this piece, I felt the urgency to express the conglomerate of violence, dread, and anxiety caused by the outburst of terrorism.
shades of abulia [interlude]
for cello and piano
Composed for Hang Liu (Baltimore, USA - 2018) 5 min.
This is a vocal-instrumental cycle originally inspired by Andrej Tarkovsky’s Stalker (1979).
The interlude is the core of the entire work. I borrowed the neurological term ‘abulia’ to describe the radical implosion of the human will in its structural capacity to decide.
____________
shades of abulia [in me, per me]
for soprano and piano
Written for Katelyn Grace Jackson (Baltimore, USA – 2018) 5 min.
This is a vocal-instrumental cycle originally inspired by Andrej Tarkovsky’s Stalker (1979). In this metaphysical movie, Stalkers are in charge of bringing people into the Zone, a surrealist area where men can discover themselves and potentially fulfill their innermost desires. Conversations on the meaning of existence reveal Tarkovsky’s profound religious sense, with scriptural references throughout the journey.
In this movement, it’s the Zone voicing the meaning of the journey.
– Text by Matteo Belli –
In me, per me,
through me, within me, in some shortcut
– they think –
desires come true,
that somewhere here, inside me,
their desires come true.
And they come inward, toward me, here inside me,
(through me, within me, through me)
to believe in me and themselves.
And they come.
In me, per me, into the Zone.
Breaking the Standard
for solo piano
(Baltimore, USA - 2018) 2 min.
This 'number' plays with the concept of imitating and breaking musical patterns from various styles.
