Media
ΔΙΠΛΟΦΩΝΙΑ - DIPLOPHONIA
for Flute solo
Kyklos (2024) for Talea Ensemble Kyklos (κύκλος) explores the idea of circularity—not merely as repetition, but as return, transformation, and orbit. Rather than progressing linearly toward a fixed destination, the music unfolds in rotations: materials reappear altered, perspectives shift, and gestures curve back upon themselves. The work treats musical time as a revolving space. Motives function like points on a circumference—sometimes sharply defined, sometimes blurred—while harmonic and textural fields expand and contract in waves. Recurrence is never exact; each return carries the memory of its previous incarnation, subtly rebalanced in weight, density, or resonance. Written for the virtuosic and flexible instrumentation of Talea Ensemble, Kyklos emphasizes interlocking rhythmic cells and timbral layering. Individual lines orbit one another, creating a dynamic interplay between centrifugal energy (propulsion outward) and centripetal pull (a gathering inward). At moments, the ensemble behaves as a single rotating body; at others, it fractures into independent trajectories that eventually realign. In Kyklos, circularity is not stasis. It is a process of continual redefinition—an ever-renewing cycle in which motion itself becomes form.
Reflect
for Cello solo
Diplophonia (2009) for solo flute Composed in 2012, Diplophonia explores the idea of duality within a single instrumental body. The title—derived from the Greek word for “double sound”—refers both to the acoustic phenomenon of multiphonics and to a broader musical concept: the coexistence of parallel sonic identities within one performer. The piece investigates the threshold between pitch and noise, unity and division. Through multiphonics, unstable dyads, and timbral inflections, a single melodic thread is repeatedly split, shadowed, or refracted. The flute becomes polyphonic not by layering external voices, but by revealing the latent complexity within a single column of air. Rather than treating extended techniques as decorative effects, Diplophonia integrates them structurally. Shifts in embouchure, air pressure, and fingering create fragile equilibria—sounds that hover between clarity and fracture. The result is a music of tension and intimacy, where every sonic bifurcation exposes the physical act of sound production. In Diplophonia, duality is not opposition but resonance: two presences emerging from one breath.