Photogrammes (2002) for string quartet

Three independent sound cores rotate one around the other, inscribed in nearing orbits ending to superimpose each other:
a sounding rusty blade, whose surface becomes more and more corroded, crossed by a wake of glissandos;
a liquid bottom with vague contours, slow move of tuning of an imaginary radio, restoring at the end of the piece the signal in its original definition;
a strictly microtonal theme developing through wider and wider intervals, that at each new exposition gradually reverberates itself in eight fundamental timbres,
inflected by a rhythmic code stated slowly, one element at a time.
Similar to a telegraph instrument or to a needle sewing an ornament made of stitches the rhythmic code articulates – in its progressive and intermittent reading and according to a succession shaped on the circular permutation, in denser and denser stratifications – all the three sound cores.
These are subjected to a process of transformation that resorts to the concentric modulation – each timbre starts hosting first one different timbre, then two until fringing itself in the all other seven timbres, or more precisely each timbres fringes itself in another timbre that fringes itself in another timbre and so on -
and to a progressive rhithmic diminution, both of the rhythmic ocde and the modulations.