Outcome 1 - Ninth (music for Viola and computer)
This is a piece for only one instrument and computer interaction and the first one in which I applied the concept of "automatic live electronics"
The compositional materials (sounds, rhythms and pitches) were taken from Bruckner's 9th Symphony in D minor (third movement - Adagio). The composition for the viola part was worked with advanced techniques and mostly all the pitches are played as flageolet sounds. The computer part was entirely programmed with MaxMSP.
Some original electronic DSP processes on this piece include the Sample and Hold random generation triggered by the Amplitude of the incoming Viola signal and the random multiple delays.

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Outcome 2 - Granular Gong for Octophonic Tape (acousmatic composition)
Granular Gong explores and experiments with the creation of pure synthetic metal-like sounds with Chowning FM (a physical modelling technique developed by me) and then varying and combining them with other synthesis procedures like Phase Vocoding, spectral mutations and convolution, but mostly Granular Synthesis (therefore giving the name to the piece), trying to use this particular type of synthesis in an original and new way, attaching the type of synthesis to all formal structuring as well.
The piece features large crescendo structures, resolving their inner tension in different sounds. Very loud and very soft moments are an essential part of the structure of Granular Gong and build the essentials of its music dramaturgy. All these sounds are moved and rotated in a space or room.

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Outcome 3 - Spectral Colours for Ensemble and Electronics
Spectral colours can be described as a "spectral" cluster-piece, in which the "spectral" clusters are built from an additive system, with the colour of the individual notes changing permanently. From its contextualization, it can be circumscribed among those pieces composed by the so-called "spectralists" like Gèrard Grisey.
The main original characteristic of the piece is that of deriving the materials from the pre-produced tape part, and the idea of changing colours in an evolutionary yet static structure. The tape and instrumental parts fuse with each other acoustically rather than stand against each other.

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Outcome 4 - L. S. (waiting for changes) for small orchestra
The piece was composed with an evolutionary form, with consideration being given to the characteristics of each one of the instruments to have some kind of virtuoso solo participation at some point during the work, and to the unusual combination of timbres at my disposal with the instrumentarium available.
From its intrinsic dramaturgy point of view, the piece belongs to what I categorize as "dramaturgy a-posteriori", meaning that the dramaturgy of the piece is left to the listener without any indication from the composer. The title refers to the concept of "changes" of the whole compositional process: on one side, the changing of instrumentation in each of the different formal sections of the piece; on the other side, the almost constant changes of tempo which subsequently change the mood from section to section, complemented by extreme contrasts in the pitch registers used.

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