Vynil (2003) for solo violin

First part.
An artificial metal light, cold and continue, starts fringing itself and engulfing other bright beams – a tremolo similar to the wah-wah effect, fragments of ascending glissandos – now dreamy, now convulsive – the voice of a yelling man, the rippling of the light itself in an uneven serie of glares – toward an increasingly giddier modulation.

Second part.
The bow goes through the tunnel created by two fingers standing on the G string, just between the bridge and the fingerboard.
The more and more insistent lashings of the bow pulverize what seems a kind of minuscule sounding fiber circulating within foils of humble and feeble metals – a web made of thin copper thread – and a resounding sinuous nasal voice.
 
Third part.
Further glares, in this case apparently generated by a measured and precise dynamo, or by an electric circuit designed reproducing a sequencer of an old analogic synthesizer.
The lights keep on flickering and spits out one after the other the sound rubbles of the first part. The fragmented glissandos multiply and end up composing long chains of sound particles.
 
The fact that along the whole piece insistently come up the traces of an old, sentimental and mawkish café-chantant melody clearly reveals that all the sound it contains is nothing else than the evidently unhappy effect of the attempt to play after long time an aged scretched and damaged vynil.