Works

Lara Morciano
Alis (1998)
for fl., cl., cl. b., pf and str-quart

The author's attention in Alis is focused on the opposition and its gushing, thorough penetration of two ways of organizing the sound material.
The formal articulation of the two main sections of the work is strongly explanatory, in the first section, there is a strong interest in the counterpoint aspect of the musical gesture, realized making use of a jagged, articulated and floating writing. This happens also in the moment when, after a process of gathering, the music approaches the height of tension and it is possible to perceive the individuality of each instrument before they rapidly disappear in order to get to the following section.
In the second section, the presence of violin and viola "torn" chords, in opposition to the dark and submerged atmosphere realized by the low-pitched sounds of the piano, bass clarinet and cello, push your attention towards the verticality, seen as the apex of concentration and energy of each instrument, gathering to form a unique, incisive picture.
In the final part, the small soloist gestures lead to a progressive sound rarefaction, until they "close" in the last "chord" around its deepest note.