Rispecchiato in quarzo, Dal nero immenso, lèvita, and Traspare assente albore unfold as structured sequences of transformation—transparent, hypnotic, fairy. Each solo instrument (piano, contrabass clarinet, bass flute) interacts with multi-layered electroacoustic textures built entirely from acoustic sources. These “electronics” remain sensitive and natural, shaped through breath, resonance, and subtle manipulations. An 1876 Steinway, spectral clarinet multiphonics, and whispered flute tones form the core of a sound world grounded in fragility, refinement, and attention to detail. The works point toward ineffable dimensions, where sound reflects, suspends, and reveals—without artifice, without excess, always close to the living breath of things.