Kyrie finds its starting point in some fragments from the chorale O wir armen Sünder, as realized by J.S. Bach. This origin is expanded in secretive ways, first of all operating on the entire harmonic framework, always close to a clear diatonicism, and also, more significantly, on the expressive and emotional aspect of the piece: a long invocation, in a progressive increase of concentration and attention, that leads us from the agitated, often short sections of the beginning up to the last, ample part of Kyrie, characterized by a long and almost imperceptible low glissando, on which the trombone lays its calm, conclusive phrases.

The electronic part was realized entirely at the studio AGON acustica informatica musica in Milan; the sounds on tape were derived primarily from the trombone itself, which were then elaborated in many ways, together with materials attained by means of FM synthesis, some percussion sounds and short vocal fragments.

(G. Colombo Taccani)