CLARA IANNOTTA: Dead Wasps in the Jam-jar (s) for violin 3 ′ 20 ″
NATACHA DELIS: Symbiosis II for violin, cello, piano and computer 8 ′
BRYAN JACOBS: Dis Un Il Im Ir for flute, piano and midi keyboard 5 ′
CLARA IANNOTTA: According to for flute, clarinet, piano, percussion, violin, viola and cello 8 ′
CLARA IANNOTTA: The people here go mad. They blame the wind for clarinet, cello and piano 10 ′
DANIEL MOREIRA: Countdowns for flute, clarinet, saxophone, horn, trumpet, trombone, percussion, piano, viola and cello 7 ′
DANIEL MOREIRA: Rhythmic Study 4b - Ludvan ven Beethowig for piano or 2 toy pianos 3 ′
CrossingLines presents a suggestive portrait of various authors from the current international scene. Clara Iannotta works on music that explores the extremely subtle registers and thresholds of listening, often using harmonic amplification to make audible the process of dropping the acoustic signal or extinguishing the resonance of vibrating bodies. Dorothy Molloy's fascination with poetry nurtures several works in her catalog, such as Dead Wasps in the Jam-jar, music designed to be interspersed between the movements of the Match n. 1 by JS Bach and prepared from the Current of this piece, and how The people here go mad. They blame the wind, work that closes a cycle especially focused on the echo of the bells and the mechanisms of the music boxes. According to, for ensemble, is part of a trilogy based on the fascination with the suspension of the resonance of the Freiburg carillon, and how sound memory can be transformed through repetition.
Two works by the Brazilian Daniel Moreira close the concert. Countdowns, a piece that relies on the countdown as a generator of dramatic potential, and Rhythmic study 4b, an original deconstruction process with toy instruments that revisits For Elise of Luwdig van Beethoven as an infamous mass product.