The sound breaks up into fragments and from the fragments new sounds are reconstructed in a rhizomatic progression, as a living matter that takes on its own individuality and rapidly dissolves in the general form of the composition.
A continuous change of discontinuous material.

Frantumi (2021)

Vermi, for ensemble and electronics.
Composer: Matteo Tundo
Year: 2020.
Performed by Proxima Centauri, during Delian Academy for New Music 2021. 26 June 2021.

Vermi is a composition structured as a spontaneous birth and subsequent evolution of musical material. The listener is led into this evolutionary story through the characterization of specific musical figures, which change over time, with their precise identity. The figures born from a primordial sound magma, and then become more and more connoted, laboriously conquering space in the listener's perception.
“…all was a chaos, that is, earth, air, water and fire were all mixed together; and out of that bulk a mass was formed, just as cheese is made out of milk, and worms appeared in it, and these were the angels... “ (statement made in 1584 by Domenico Scandella, an italian miller, during an inquisitorial question).

Vermi, for ensemble and electronics (2020)

Acquaforte, for violin and string orchestra (2021)
Composer: Matteo Tundo
Violin: Francesco D'Orazio
Conductor: Pasquale Corrado
Orchestra d'archi Arrigoni

Recorded in San Vito al Tagliamento (ITA). 14 April 2021.
Final concert of the masterclass by M° Ivan Fedele, San Vito Musica Contemporanea 2021. Artistic director: Maurilio Cacciatore.

Acquaforte, for violin and string orchestra (2021)

Primo duo chirale (2021).
Composer: Matteo Tundo
Performed by Collettivo_21 (https://www.collettivo21.com):
Lorenzo Moretto - baritone saxophone.
Daniele Nava - piano.

Recorded at Casa della Musica San Michele (https://cdmsanmichele.com).
28 July 2021.

Primo duo chirale, for baritone saxophone and piano (2021)

Equinoziale (2021).
Composer: Matteo Tundo
Performed by Maria Grazia Bellocchio (http://www.mgbellocchio.com).
Recorded in Milano, 15 June 2021.

For several years I have been interested in border things and in particular in temporal boundaries.
We’re generally used to confer on boundaries the characteristics of beginning or end, therefore moments like the equinox symbolically become the beginning of a season and the end of another. However, I think it is more interesting to think of these borderline moments as moments of time in their own right, with their own identity that brings the weight of past and at the same time they can potentially become something new. This possibility of becoming is for me extremely more fascinating than the definitive act of becoming, since it contains within itself the natural principles of active evolution, allowing us to glimpse the possible paths, like shadows of a thought that has finally been realized. In the Devonian period an animal called "Tiktaalik" was the protagonist of the evolutionary passage of life from water to land, it was neither a fish nor an amphibian, but a "being in transition".
The piano in this piece, with its preparations and augmentations, is a living and organic instrument, a boundary instrument, which let glimpse the sonic possibilities of an evolutionary story. 
Here the piano becomes an instrument-tiktaalik.

Equinoziale, for augmented piano (2021)

Germinazioni (2019-20).
Composer: Matteo Tundo
Performed by Marina Boselli.

Recorded at Casa della Musica San Michele (https://cdmsanmichele.com). 
Sound engineer: Davide Martini. 
04 February 2022.

In this composition I wanted to explore the sonic possibilities of the euphonium, immediately presenting different musical figures that quickly alternate them selves in the first bars of the piece. I treated these figures as seeds: only a few of them will germinate in the evolutionary structure of the composition, they will develop and strengthen.
The insertion of an external element, which acts as a "virus", destroy the progress of the structure, imposing itself as a dominant element and causing a change in the evolutionary history of the piece.

Germinazioni, for euphonium (2019-20)

Consumate stille (2021).
Composer: Matteo Tundo
Performed by Riccardo Acciarino.

Recorded at Casa della Musica San Michele (cdmsanmichele.com).
Sound engineer: Davide Martini.
15 February 2022.

This composition comes from a childhood memory. At my parents' house we had a porch and I remember very well that when it rained, the roof of this porch greatly amplified the sound of the drops hitting it. In the silence of the house, it was possible to notice the beginning of a storm, when few drops fell on the roof of the porch, then becoming more and more, until it turned into a roaring noise.

Consumate Stille, for clarinet (2021)

Terrario. for 13 instruments (2021-22).
Composer: Matteo Tundo
Performed by Ensemble del Conservatorio della Svizzera Italiana.
Directed by: Francesco Bossaglia.

Recorded at Conservatorio della Svizzera Italiana, Lugano (CH).
14 April 2022.

Terrario, for 13 instruments (2021-22)

Innesti, for euphonium and electronics (2022).
Composer and live electronics: Matteo Tundo
Euphonium: Marina Boselli

The composition is the result of a research done with Marina Boselli, to whom the composition is dedicated.
Electronics influenced the work at the beginning of its conception, indeed some possibilities typical of the electroacoustic elaboration were researched in the instrumental sound of the euphonium, such as granulation, pitch shifter or distortion. With these methods, live electronics have been effectively implemented.
The composition is divided in four-part, but is presented as a single evolving stream. Each section presents a characteristic musical element, with which a sound enviroment is built. In each section an extraneous element will always be grafted, which will tend to saturate the section, so much so as to become the protagonist of the next part.
However, the euphonium and electronics appear as a single organism, with which they describe changes in form and sound evolutions.

Innesti, for euphonium and electronics (2022)

Reciso (binaural)

Innesti, for euphonium and electronics (2022).
Performed live by Concrète [Lab] Ensemble, in Lisbon (PT), 10 May 2023, Festival Música Viva.
Composer: Matteo Tundo

In this composition, the sound material is immersed at various times in different imaginary resonant environments. In this way, the listener will embark on a journey of exploration through soundscapes with diverse acoustic characteristics; reverberant spaces, others where the material undergoes deformations due to delay, others where echoes fill vast imaginary spaces, and others where narrow spaces force the sound to rapidly decay, leaving it dry and devoid of resonances. The musical materials become part of the designed resonant environments, originating from them and changing with them, undergoing variations, transformations, and distortions.

Giardini di risonanza, for ensemble (2021-22)

Agenor Linea, for ensemble (2023).
Performed live by Ensemble '900 conducted by Pasquale Corrado, in Rome, Auditorium E. Morricone Parco della Musica, 05 October 2023.
Composer: Matteo Tundo

The title 'Agenor Linea' is linked to the intriguing geological formation of Europa, Jupiter's moon, where chaotic surface features converge into more ordered lineaments. This title provides a conceptual reference for the composition, which employs methods of statistical distribution and logistic functions to shape its structure and the evolution of the sonic material.
The use of these non-linear methodologies reflects an attention to the functioning of human perception and understanding. 'Agenor Linea' aims to convey this balance between order and chaos, exploring a fluid and evolving sonic environment where structures emerge and transform. The composition itself reflects this duality between order and chaos, particularly highlighted by moments characterized by strong acoustic contrasts.

Agenor Linea, for ensemble (2023)

Ossido, for ensemble and electronics.
Performed by Divertimento Ensemble.
Live recorded in Milan, 24 April 2024.

Ossido, for ensemble and electronics (2023-24)

Lamiere, for ensemble and electronics (2024).
Composer: Matteo Tundo
Performed by Concrete [Lab] Ensemble
Directed by: João Quinteiro.

Live Recorded at O'culto da Ajuda, Lisbon (PT).
30 July 2024.

Lamiere, for ensemble and electronics (2024)

Cyanotype (2024)

Aspro Sommerso, per flauto, clarinetto, violino, violoncello, pianoforte ed elettronica.

Composer: Matteo Tundo
Year: 2018
Performed by Ensemble Taller Sonoro, Parma 11 Sept. 2018
Live recording.

Aspro Sommerso, for flute, clarinet, violin, cello, piano and electronics (2018)

Genesi Astratta (2018), binaural version (Listen with headphones!)
This piece was composed imagining the neural path of an event. The information is initially perceived by the receptor organs and elaborated in a first neural stage. Subsequently the event is compared with the memory, in order to obtain an elaboration of the information coherent with the personal life experience. The brain data becomes more and more abstract and create the meaning of the information, shaping our thoughts, our impressions. In this way we create ourselves through an abstract genesis. The sound events in the composition are always related to the previous sounds and have been developed following an evolutionary process. The spatialization has been treated as a projection of the internal sound space, paying particular attention to the distribution of the spectrum, which aims at a sound perception in an increasingly intimate environment.

Genesi Astratta (binaural)

During this strange pandemic period I started writing small compositions that I decided to call "Quisquilia". This for clarinet in particular is the first Quisquilia in the series. This term "quisquilia" in Italian means "something not important" and this title derives from a reflection on individual moments of life, on small things.
Composition: Matteo Tundo
Clarinet: Felix Martl
Year of composition: 2020

Quisquilia I, for clarinet (2020)

Oltre il riverbero delle candele, for string quartet.
Composer: Matteo Tundo
Year: 2020
Performed by Quartetto Prometeo in Accademia Chigiana, Siena. 31 July 2020.

This composition comes from an image aroused by the words of Andrea Zanzotto's poem “Polvere” in the book Dietro il paesaggio.
In particular, these are the verses that evoked the image:
Oltre il vento le fanciulle pensano / Beyond the wind the girls think
alla pioggia che non fu mai, / to the rain that never was,
pesa negli occhi delle fanciulle / weighs in the eyes of the girls
il riverbero delle candele. / the reverb of candles.
Throughout the composition there is a melody, which emerges only in some points where it becomes truly perceptible; for the rest of the piece the melody acts as base material, but it is difficult to listen it, as if it were hidden behind a blanket or perhaps behind the faint soft glow of candles.

Oltre il riverbero delle candele, for string quartet (2020)

Matteo Tundo is an Italian composer of acoustic and electroacoustic music. His compositional research focuses on the perception and cognition of sound events, investigating the neural mechanisms underlying the signification of sound. His work centers on the integration of neuroaesthetics into musical composition, employing innovative technologies to enhance the listener’s perceptual engagement and sensory experience.
After his initial guitar studies, he devoted himself entirely to composition and new technologies, studying at the conservatories of Florence, Parma, and Lugano, and at the Accademia Nazionale di Santa Cecilia. He studied composition with Ivan Fedele, Giorgio Colombo Taccani, Javier Torres Maldonado, and Nadir Vassena, and electronic music with Marco Ligabue, Alfonso Belfiore and Michelangelo Lupone. He also attended specialized courses with Salvatore Sciarrino, Yan Maresz, Beat Furrer, Franck Bedrossian, Marco Stroppa, Mark Andre and others. 
In 2024 he was composer in residence for the Divertimento Ensemble. In the same year, together with guitarist Pierpaolo Dinapoli, he founded the h[t] DUO, a guitar and live electronics duo, for which he is active as an electroacoustic performer
His compositions have been performed in Italy, Germany, England, Portugal, France, Spain, Greece, Switzerland, Austria, United States, Iran, Korea, Japan, Hong Kong, and Australia. He has participated as composer in international festivals.
He teaches computer music at the Conservatory of Brescia, Italy. After his initial guitar studies, he devoted himself entirely to composition and new technologies, studying at the conservatories of Florence, Parma, and Lugano, and at the Accademia Nazionale di Santa Cecilia. He studied composition with Ivan Fedele, Giorgio Colombo Taccani, Javier Torres Maldonado, and Nadir Vassena, and electronic music with Marco Ligabue, Alfonso Belfiore and Michelangelo Lupone. He also attended specialized courses with Salvatore Sciarrino, Yan Maresz, Beat Furrer, Franck Bedrossian, Marco Stroppa, Mark Andre and others. 
In 2024 he was composer in residence for the Divertimento Ensemble.
His compositions have been performed in Italy, Germany, England, Portugal, France, Spain, Greece, Switzerland, Austria, United States, Iran, Korea, Japan, Hong Kong, and Australia. He has participated as composer in international festivals.
He teaches computer music at the Conservatory of Brescia, Italy.

Matteo Tundo

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