Strintrio II – friction 
for sringtrio 1995 – 97

The starting-point for friction was an observation of the conditions under which tones are produced on string instruments, which yielded material illuminating these conditions.  Stroke speed, pressure (i.e. the physical conditions) and also the material properties were brought into a relationship with one another, which on the one hand takes on the form of a concise sound progression and on the other hand reflects the fundamental conditions governing this set of instruments.  In the course of the piece this material framework is stressed in both directions: the progression of sounds and the events that constitute it are analysed by means of isolation and maximisation processes through which they undergo qualitative changes.  The analysis is conducted from the point of view of the frictional conditions, and this viewpoint becomes itself the object of compositional analysis by way of the elements that represent it. 
 
Analysing all the material and formal qualities relevant for perception (from the point of view of the frictional conditions) constitutes the attempt to draw upon fundamental conditions for the conception of music.  The goal is to grasp also the conditions of perception- of listening.  It is the attempt to make listening directly thematic: listening as an absolute event, listening as a socially conditioned event and listening as a creative act on the part of the listener.  It seems to me that the direct questioning of these phenomena through the tonal reality of music is the only way to work on renewing the act of listening.

Chambermusic I

Streichtrio II (Friktion) 1995/97 [22:15]

Long distance session (virtual) with Ulrich Langenbach https://on.soundcloud.com/MrvDJ Februar 2024

5 Stücke zur Zeit / Coop Langenbach & Ginsberg

"Opal" (2024, for electric guitar & live electronics)
Commissioned by Centre Henri Pousseur
microtonal e.guitar w/ hexaphonic system [this recording is a stereo adaptation!]
Premiere: 11 May 2024 @ Le MoM, Liège (BE)
Festival Images Sonores
François Couvreur (e.guitar), Zeno Baldi (live el.), Patrick Delges (sound dir.) 
Score published by Ricordi, Milan.

Opal (2024)

Burning Memory (2023), for amplified ensemble and electronics

Studio Recording: Ensemble Kontakte, 25 September 2023, Turin

Burning Memory (2023), for amplified ensemble and electronics_excerpt

Concert recording; premiered by Reto Weiche on June 6th, 2024 in Ackermannshof, Basel as part of ATTACCA.

All sound amplified in concert through a hanging acoustic guitar.

To the earth; dragged, returned. - for Electric Guitar and Feedback Systems

Esos Ø for amplified ensemble (2024)

NAMES Ensemble
Conductor: Gregor Mayrhofer

Live Recording, Klangspuren Festival, 17 September 2024 - Schwaz 

Esos Ø

"Glassed Skin - A Look Through the Looking-Glass"

As one of the most multifaceted ways to communicate, language is also one of the first steps that brings us closer to the other. And in this way, language resembles skin.
Like our skin, language is our last barrier from the world, and at the same time our first contact with it. 
It can protect us, but can also hurts.
It’s fragile, paradoxical and unexplainable: a glassed protection that allows us to get in touch.

Glassed Skin (2023-24), for amplified ensemble, voices (M. E. Caminada) and electronics

Electrical parasites infect an imaginary maze
for ensemble
Ensemle Argo kollektiv
Leon Liang, conductor
2024 UA at the Musikverein (Wien Modern)


Electrical parasites infect an imaginary maze (2024)

What we’ll always have is something we lost in the snow (2024) for viola, soprano and objects.

Premiered on 11.2024 at the Festival Trieste Prima
Performance of this recording on 12.2024 at the Festival UdineClassica
Recorded by Roberto Borin

Performers:  Paolo Fumagalli (Viola)  Giulia Zaniboni (Voice) 


“What we’ll always have is something we lost in the snow” is taken from a poem by Ocean Vuong, in which grief and memory take shape in the image of the snow. The title of this piece already contains all the textual and phonetic material of which it consists. The text, in fact, is not enunciated, but emerges and dissolves in the phonemes of the letters in which it is immersed, through a vocality that is sometimes ambiguous, muffled, mimetic, sometimes pure and crystalline. The listening oscillates between the perception of the meaning of the text and that of pure sound, in this constant exploration of which the voice becomes the medium.

What we'll always have is something we lost in the snow (2024), for viola and voice

Maurizio Azzan
Wasteland_beyond (2022)
for twelve musicians
© Casa Ricordi srl, Milano – all rights reserved

Johannes Kalitzke, conductor

KlangforumWien 

A recording by the Austrian Broadcasting Corporation (Radio Österreich 1).
http://oe1.orf.at/
Recording Producer: Franz Josef Kerstinger (ORF)
Recording engineer: Sebastian Gartner (ORF)

Wasteland_beyond

Wasteland_beyond (2022) [use headphones!]

Ensemble Suono Giallo - 06/03/2025 - Conservatorio "L.Campiani" Mantova - Mantova Musica del XXI sec.

Burning Memory (2023), for amplified ensemble and electronics_excerpt

Davide Rizza

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