A tombeau dedicated to the Albanian composer Çesk Zadeja (1927-1997). The reworked "subject" is the "Theme of Skanderbeg", composed in the first half of the 1950s. Emblem of the musical and historical culture of the country, it refers to the character of Gjergj Kastrioti Skënderbeu (1405-1468), a national hero who fought against the Ottoman occupation in Albania.

The aim is to create a synergic relationship between the cultivated, folkloristic and electroacoustic musical worlds. Having the formal structure of a Theme and variations, the composition investigates the multiple timbral and expressive possibilities born from the relationship between the piano sounds and their electronic reworking: the imitation of musical instruments and performance practices of traditional Albanian music, of classical music and the simulation of acoustic phenomena.

The composition is divided into seven sections: an introduction and six variations, each with different titles ("Rikoshet", "Dopplereffekt", "Tupan", "Duet", "Antifon" and "Iso-polifoni").

Artwork by Fieda.

Variations and Disintegrations on a Theme by Cesk Zadeja

"Brucia, Bruch" is the first of a series of electroacoustic improvisations called "Brucia", made with turntable (and added radio), vinyl record and live electronics.

The main purpose is to create new expressive and sonic ways to explore turntablism through recycled, residual or damaged pre-existent music material. Tearing and burning the flesh of music alive for the sake of rebirth.

Brucia, Bruch

"Brucia, Callas" is the second improvisation from "Brucia". 

In this case, the music material comes from a recording of Giacomo Puccini's aria "Vissi d'arte" (from the second act of "Tosca"), interpreted by Maria Callas with the Orchestre De La Société Des Concerts Du Conservatoire, directed by Georges Prêtre. 

This work was burned to give birth to a new sonic expression of it.

Brucia, Callas

"Brucia, Milva" is the third turntable improvisation from "Brucia". Through her song "Blue Spanish Eyes (Occhi Spagnoli)" from 1966, the material is used to create textural and pattern elements such as polyrhythms, beats (intereference patterns between two near frequencies), drones and various accumulations (through granulation).

Daniel Kulari

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