Lettere di fiato

for flute, violin, viola and cello

In this piece written for the composition course at Accademia Chigiana with S. Sciarrino I wanted to explore more in detail the possibilities provided by the "letters technique" I firstly used in hidden voices.

Some chosen letters become now minimal compositional cells, with a precise sound fingerprint.

These figures can create peculiar results, oscillating between pitch and noise, or different noise filterings; at the same time, such unstable sounds are "packed" into one single compositional element.

This solution has the advantage to be more intuitive  than a more standard multi-stave representation, if the compositional goal consists in identifying precise cells to be repeated. 

Such technique is referred to abstract entities we deal with every day (letters); thus, at some extent, in particular conditions, this notation can be more specific than standard multi-stave representations.
Here I renounced to the utopia of codifying precisely every parameter of musical performance: while the bow position is intuitively indicated, bow pressure and speed are roughly represented only through the dynamic indication; such compromise can leave the notation open to slightly different

interpretations, thus allowing a certain (reasonable) uncertainty in the resulting sound qualities. Nevertheless, this representation maintaines a precise musical meaning.


Formally, the composition is based on the development of the different sound cells until the intervention of the flute, with sound material obtained through whispering into the instrumet, breakes the formal evolution, bringin the piece to its end.