Marco Momi (1978-)
Iconica II (2008), pour 2 violons, alto, contrebasse, saxophone, 2 percussions et piano préparé
Iconica IV (2010), pour trio à cordes, flûte, clarinette, piano préparé et électronique
Due Nudi (2013), pour alto seul
Hox on Beckett (2003), pour violon, alto, hautbois et clarinette basse
Tre Nudi (2006), pour piano seul
Almost Quiver for E.P. (2011), pour flûte, hautbois, clarinette, trio à cordes, percussion, piano
Ludica III (2012), pour trio à cordes, flûte et piano

Maria Grazia Bellocchio, piano
Maria Ronchini, alto
Ensemble Divertimento
I piccoli musicisti di Divertimento Ensemble
Sandro Gorli, direction

The figural poetic of Marco Momi seems to unfold around three main junctures: transmuting the private space from which the voice necessarily departs; believing in a form of subjectivity only as a horizon to be reconstructed; coordinating a grace of movement capable of accepting the gaps that consume it. It therefore comes as no surprise that this dramaturgy of subjectivity manages to link the two extremes of the existential condition: on the one hand, the morphogenetic sequence of the individual’s anatomical development (hox genes), and on the other, a writing pushed to the limits of its residual identitarian substance (like the poetic voice of Beckett).