The Windrose composition is the result of long research and an intense musical, symbolic and structural study on the wind rose.
First, the structure of it was analyzed based on 32 faces, 12 black and 12 white and 4 wider tips that outline the 4 cardinal points. From the structure of the wind rose all the musical parameters of the composition have been derived: form, musical material, rhythm, etc.
In the piece there are 4 instruments, 4 performers, 4 cardinal points, 4 formal zones, 4 dialectic figures (proposal, evolution, suspension and conclusion), 4 microphones, 4 speakers and 4 interchangeable lines. At each cardinal point, a musical instrument has been associated: in the north the flute (idea of the glacial wind), in the east the harp (idea of the cymbalom), in the south the oboe (idea of the zuffolo) and in the west the spinet (idea of a percussion ensemble).
Each performer is positioned at a cardinal point, while the speakers are located to the northeast, southeast, southwest, and northwest. Arranged in this way, the latter will form a sort of spatialized double choir with respect to the instruments themselves. Each face of the wind rose is a musical figure, 32 as a total. Some of them are variants of the 16 starting musical figures. All these figures are organized to be interchangeable and to be able to form interesting musical inlays, like real sound mosaics.
In addition to having the function of amplification and spatialization of sound, electronics becomes the most interesting form of variation of acoustic sound material. A kind of spatial polyphony is thus created through different interventions of sound change in real time.
Throughout the piece there is the poetic search for a moving fixity. Just as a passenger of an aircraft in flight cannot grasp the speed but perceives the landscape, so in this sort of small sound ship you will not grasp the pieces of the mosaic, but the totality of the figure.
The musical kaleidoscope is created from time to time by the different possibilities of figural overlap which range in the overall instrumental register.
The 9-sided magic square organizes the intervals of the work, the multiples of the numbers present the rhythmic, while the magical 16-sided square organizes the game of contrapuntal mosaics present in zones 3 and 4.
The 32 faces of the wind rose also organize the six-tone chromatic scale of 32 heights which this composition is built with. The idea of opposites organizes the two germinating thematic ascending and descending lines which are the embryonic material of the composition itself.
Finally, the real-time diffusion of sound of this piece is also organized according to the concept of the magic square, therefore in spatialized quadrophony on 4 speakers.
