Thematic Reductions: Material, developments and categories

In my music I try to control the chaos inside and outside me. I try to write in the freest way and to realize it in the most consequential manner. Hence, I try to fnd a balance between the material and its implicit existential possibilities, focusing on the clarity of its elements and the variety of its possible complex temporal evolutions. In this sense, my pieces could be reduced, in most cases, to a set of contrasting original elements that are embedded in the thematic character of the structure of the material. However the theme is at the same time the starting and the fnal point of the composition, a journey in the discovery of the poetical and formal proprieties of the musical idea. Te theme is the frst and the last element. I reduce the musical material to a limited number of elements that are developed following a limited number of more abstract categories that allow a control of musical complexity. Tis double bond through an opposition with the material reveals my abstract compositional categories. Tis makes the process of composition a process of dialectic personal awareness of my subjective limits refected through the manipulation of the musical material. In this sense, my music results from an intimate and subjective confrontation with the realization of the musical idea. For this reason the notion of the thematic idea is central. It resumes the pure temporal character of the musical idea and refers to the semantic element of linear profles that I craft in my compositions. Te following analysis highlights the dialectics between the material and the abstract categories that derive from it. In the conclusion I explain my compositional position from the perspective offered by this analysis.