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Abstract
Is it possible to compose without making demands on the audience? Is it possible to compose without requests? I will try to answer this question by discussing a portfolio of musical compositions and proposing an inventory. The pieces presented are:
- Pale Blue Dot, for orchestra (2022, 12′ 30″),
- Fragments of a lover’s discourse, for string quartet (2020, 10′),
- Nessun lamento, for male voice choir and ‘halved’ orchestra (2019, 14′ 30″),
- Rapsodia sognante, for three guitars (2022, 8′),
- Wavy repercussions, for ensemble (2021, 10′ 30″),
- Obsession, for solo violin (2022, 8′ 30″),
- La réponse est dans la pelote de laine, for solo clarinet (2022, 6′ 30″),
- Ta da da, e poco più, for string quartet (2022, 9′).
A symbiotic relationship between the portfolio and key concepts animates the whole commentary and shapes the framework within which each piece is presented. The systematisation of the concepts is exposed as an open inventory in the second chapter.