Light through echoing leaves, I

Synesthesia
For me, certain sounds and certain colours are inextricably linked, like two manifestations of the same reality.
This principle is naturally inscribed in all my music and is used more or less explicitly depending on the compositions.  
These are my sound-colours: D/light grass-green, Db/green a little darker but bright, E/white, F/yellow-ochre, F#/light brown, G/red, Gb/red a little darker, A/yellow, Ab/yellow a little darker but bright, B/very light blue, almost white.
The colour nuances can vary or evolve according to the combinations of the different sounds, for example Bb has no colour of its own, but can take on green hues when used in association with D.
Some combinations of sounds are particularly colourful for me compared to others and I tend to favour them.

Light through echoing leaves
In Light through echoing leaves I used many nuances of sound-colour.
A yellow-green expanse rustles and waves gently; rapid figures pass through it like rays of light, making it resonate like an echoing ambience that releases elusive sound memories.
The second part of the piece is a non-linear re-reading of the first, on a different temporal scale. As if the previous fluid figures were suspended and stuck in very slow time.
The entire composition seems to utilise elements of an extended tonal system, in reality the processes used and the form are totally alien to the music of the tonal period or the period which came right after it.

Versions
Light through echoing leaves exists to date in three versions. The original full version, lasting about 16 minutes; the second version, lasting about 13 minutes – this is the one performed by Lorenzo Soulès at the Arsenal in Metz (France) in September 2023 –; and the third version, lasting about 8 minutes, which essentially comprises only the first rapid part of the composition.
The first part, up to bar 135, is identical in the three versions.
Filippo Zapponi