University of York Music Press

Thomas Simaku has written the following notes about this new work:

‘A single note in the middle register (C-sharp, to be precise) opens up to form a chord of two major seconds a semitone apart. Through this process of multiplication, it gradually encompasses the total chromaticism; i.e. the same chord is presented in three different places. To put it the other way round, the chromatic spectrum here is made-up of just one specific chordal structure, which retains its identity in three different locations.

Whilst these details are a small part of the pre-compositional work that deals with pitches and their role in the articulation of the macro-structure, the main idea for this piece is an extra-musical one: an imaginary ‘object’ that gradually reveals its three-dimensional quality. Sonic resonances are thus essential to the imagery of the music here, and the piano is the ideal instrument for it.

The chord formations mentioned above could well be described as three specific “constellations” operating in their own time and space, and are presented in constant interaction with one another. During this interactive process, which occurs within a predominantly chromatic environment, wide spectra of harmonic colours, as well as nuances and gestures, including some massive chordal structures, are obtained. Metaphorically, but in no way programmatically, I have likened the main idea for this piece with that of a ray that stems from a sound-nucleus freely orbiting its “lunar-like” sonic galaxy – hence the title raggio lunare.’