Crossing Lines (2026)
(for orchestra)

Crossings Lines is a study of the intersection of harmonic fields, the partial simultaneity of superchords and their mutual influence. Each of the pieces explores this theme from a different formal and expressive perspective.

Antiphonae develops a solo discourse, initially embodied by the flute, which is contrasted throughout the piece with various ensembles, predominantly consisting of woodwinds. As the piece progresses, the solo part expands into two or three voices, constantly entering into a counterpoint with a relatively transparent ensemble; yet this ensemble stands in contrast to the solo function, implicitly prompting a reflection on the relationship between the individual and the collective.

Idée fixe presents a single, fixed pattern based on the Golden Ratio, which is not developed horizontally but serves as a canvas for the exploration of superimposed harmonic colour effects.

With Romantic Élan is a piece that modulates between various ‘superchords’, in a post-Romantic-inspired spirit, yet within an independent harmonic context.

Simultaneous Contrasts explores the overtones of superchords through rapid juxtaposition and immediacy, as a study of quasi-simultaneous contrasting timbres.

Tense Stillness examines the fragile balance of ensembles subjected to varying degrees of transformation; towards the end of the piece, the initial balance dissolves into a dizzying sequence.

Choral Canon is a study of a harmonic field that differs from that of the five preceding pieces. It combines, in vertical layering, primarily those partials associated with chords of traditional tonality, without, however, invoking their functional resolution logic or other conventional tendencies. The harmonic structures appear here as autonomous entities subjected to a treatment that renders them both communicative and expressive.