The second evening brings into dialogue three radically different ways of thinking about sound: the pulsation and gradual processes of Steve Reich, the rigorous and timbrally imaginative writing of Ivan Fedele, and the physical intensity of Ben Frost’s new work. The Syntax Ensemble, an Italian formation dedicated to contemporary music, performs works by two composers whose output over the past twenty years has shaped distinct approaches to musical form.

On one side stands Steve Reich, with his conception of time based on repetition, minimal deviation, and the perception of change as an emergent phenomenon: a music that does not unfold through thematic development but through slow, hypnotic transformations. On the other side, Ivan Fedele, whose complex writing intertwines formal construction and timbral research in a constant equilibrium. His works explore spatiality, micro‑variation, and the tension between gesture and structure.

Alongside this double portrait is the new work in residence by Ben Frost, an artist who has pushed electronic music toward territories of extreme intensity. His compositions transform electronic matter, noise, feedback and physical dynamics into an immersive experience that engages the body even before analysis. The Australian musician often works with violent contrasts, with densities that expand and collapse, with a sonic dramaturgy that challenges the boundaries between experimental music, sound design and sensory perception. His presence in the season represents the opposite pole to Pärt’s ascetic concentration: a portrait of Ben Frost built not on subtraction, but on tension.