Jaehyuck Choi (1994) - Signal (2022)
for soprano saxophone and trombone (2022)

Live at Concours Nicati 2023
26.08.2023

Duo Signal 
Alejandro Oliván - soprano saxophone
Adrián Albaladejo Díaz - trombone

https://www.duosignal.net/

Audio recording: Christophe Egea
Audio mix and mastering: Clément Marie

Salquin Konzertsaal, Hochschule Luzern-Musik

Jaehyuck Choi - Signal (2022) - live, Luzern - 26.08.2023

airborne extended
Elena Gabbrielli, flute / piccolo / bass flute
Caroline Mayrhofer, recorders / paetzold 
Tina Žerdin, harp
Sonja Leipold, harpsichord

İstanbul, AKM
2025


ciyak :: airborne extended

Tongue and Trace
for soprano and contrabass flute

Tongue and Trace engages with ecstasy in its dual form; as sacred rapture and as 
sensual intensity. The piece moves within this tension, where the voice becomes 
both vessel and threshold — carrying memory, desire, and rupture in equal measure.

Fragments of text drawn from diverse sources — including Hildegard von Bingen and 
Anaïs Nin — evoke this polarity: spiritual elevation and embodied longing. Their words, 
lifted into sound, create a layered texture in which devotion and desire resonate 
without resolution.

The piece unfolds as a multilingual mosaic — in Latin, Italian, Latvian, German, French, 
and English — where no single language governs. Meaning remains fluid, shaped 
by breath, by musical form, and by the grain of the voice itself. Ecstasy here is not singular 
or transcendent, but fractured and intimate — something traced across the tongue, 
left behind in its wake. Tongue and Trace gives form to this condition: luminous, unstable, 
and composed from what cannot be fully held.

Performers:
Elina Viluma-Helling, Soprano
Alessandro Baticci, Contrabass flute

Live recording from 28 August 2025, REAKTOR Vienna
Recording: Georg Zichy

This piece was commissioned by Cantando Admont. 
https://www.cantando-admont.com/

Tongue and Trace (2025) | Viluma-Helling & Baticci (Cantando Admont)

An Atlas of the Infinite [Part I]
A project by Duo Signal
Music by Nuño Fernández Ezquerra 

Performed by:
Alejandro Oliván 
Adrián Albaladejo Díaz
Francesco Palmieri
Eva Boesch
Hélène Walter
Eguzki Irusta


Can we reach what lies beyond the horizon of the human condition? Can we break the shackles of language to refer to and communicate the essence of reality? Is it possible to embrace the Absolute without losing our singularity in the process? Is it sound a way to transcend these questions?

An Atlas suggests a mystical and symbolic journey, poetically exploring the limits of human nature, disembodiment and transcendence. Limit and liminality, treated under a variety of scopes, are the poetic and conceptual cores of this work.

It offers a space of pure listening where to be immersed, explore within and beyond, trying to caress the ineffable. It is consciously trying to propose a map an an impossible cartography.

What we will listen is the first half of the Atlas of the Infinite, a concert-long piece that will take place in 2026. This part introduces some of the ideas that constitute the foundation of the Atlas; the beginning of an aesthetic and artistic statement, trying to reconcile the modern audience with a kind of experience that seems to be slowly fading away.

Nuño Fernández Ezquerra - An Atlas of the Infinite [Part I] (2025)

Débris de Fleurs, for soprano and ensemble

Live Recording: Ensemble Écoute and selected performers from the Live Act Contemporary Music Academy, 30 August 2025, Kulturforum Görlitzer Synagoge, Görlitz (DE)

Débris de Fleurs (2025)

Púca

This work was created entirely in Max/MSP, with sound material generated and transformed through randomized processes. The audio originates from an excerpt of my composition "In Love" (2020), performed by Sara Gouzi, and is processed through filters, randomized granulators, and AI-based methods such as the Magenta Transformer, reshaping the material at the synthesis level. Spatialization is central to the piece: irregular trajectories and combinations of loudspeakers create bold sonic entities, while simpler panning between pairs or sets of speakers provides moments of calm. Through these techniques, the work cultivates a tense, suffocating atmosphere, where sound fragments are continuously transformed and displaced.

This work was developed during my residency in KUG, Graz, Austria 22/09-06/10 2025.

Tunnel Boring Machine (aka Μετροπόντικας), for 25-channel diffusion (stereo version) (2025)

This work is a 15-minute frequency compilation of randomized volume levels. Each of the 25 loudspeakers corresponds to a specific frequency traditionally used in meditation, creating a spatialized sound field that remains largely stable yet changes subtly and imperceptibly over time. Listeners are invited to close their eyes and immerse themselves in the slowly evolving sonic environment, experiencing a space for reflection and meditation.

This work was developed during my residency in KUG, Graz, Austria 22/09-06/10 2025.

Meditation, for fixed media with randomized 25-channel diffusion (stereo version) (2025)

writing this piece coincided with a moment in my life where waiting has been the sole intention of my everyday.
I haven't seen my parents for a very long time due to the political climate and have reached a surreal point in my life i which my every day is filled with waiting. the waiting has brought a sense of immobility and stuckness accompanied with anger.
this waiting no longer contains a peaceful negative space but a sense of overflowing emotions with numbness.

premiered by SMASH duo at Gaudeamus festival, 2025
                                    
         


10 am is when you come to me

DUO SIGNAL​

We are a chamber music group formed by saxophone (Alejandro Oliván) and trombone (Adrián Albaladejo) with a determined commitment to the performance, creation and diffusion of new repertoire.