This program gathers four Basque and Italian composers.

For Dubedout, literature is the detonator and constantly nourishes his spiritual quest. Poet André du Bouchet’s work is associated with a thorough project in which the composer uses different instrumental formations under the name of “Fractions du silence” (“Fractions of silence”). Each book carries within its epigraph a quote of the piece which poetic inspiration could be the golden thread which ties each pages of this musical sum to come. In book V : “As soon as light declares, there is this wasted light in the day”

From his fellow countryman Ramon Lazkano, Errobi 2 belongs to the “Laboratoire des craies” (“Chalk Laboratory”) which finds its origins within the sculptor’s work, Jorge Oteiza. The chalk draws the sign yet consumes and exhausts in the track it leaves. Grinding against the slate, the chalk becomes an extension of one’s hand, which memory tracks back to childhood and learning, yet it also demonstrates the mind with its friability, erodes and become dust, and shifts to a metaphor of this music discourse.

From Italian composer Ivan Fedele, Fünfzehn Bagatellen is a series of five musical ideas structures with three variations each. Having completely abandoned the notion of “narrative time” for that of the idea of “fixed time” in the presentation of the musical idea, the composer tells us that sound does does not narrate an intrigue anymore but reveals its most profound nature, its more or less dense matter as well as its tranparence, projected shadows through the space, the sweetness or the roughness of its surface, according to the perspective or intensity of light that envelopes the musical object.

In Konturen, Helga Arias Parra refers directly to the sound and reminds us that, “as a physical phenomenon within nature, sound is not a regular object and continuous, rather it is imperfect and constantly changing”. Her intention is to create a imperfect sonorous universe, fragile as well as irregular, which leads to an experimentation process of each instrument’s tone potentiality, especially the piano. The title of the piece comes from the use of sonorous objects inspired by natural sounds, repeatedly changing by frames, which moves from one instrument to another, creating different levels of change as far as distorsion.

For Gabriel Erkoreka, Ametsak («dreams») form his source of inspiration. They show a distorted reality, in which time denies all logic, and the alteration of time perception is intimately connected to the essence of an art that is music.