Untitled dates from around 2003, shortly after I began studying composition. Written for instrumental forces including piano and violin, the piece also incorporated sampled water sounds and developed through an early interest in atonality, timbre and the spatial character of sound.
Looking back, what remains most significant to me is not the technical construction of the piece, but the intuition behind it. At the time, I had only a partial understanding of how such sounds might be formally organized, yet I already had a strong sense of the sonic world I wanted to approach. The attraction came before the technique.
Later formal training gave me far greater control over harmony, structure and musical material. At the same time, this early score preserves a different state of listening: a direct and still unformed perception of sound, before compositional methods had fully shaped the way I understood what music could be.
