Selected Compositions II is the second installment in Neuma’s Composers Series of works by composer Thomas DeLio (1951). As with the first installment, Selected Compositions II contains compositions for solo instruments and small ensembles, some for electronics, and one relatively large-scale work for soprano and orchestra. DeLio, who has a background in mathematics and visual art as well as in music, frequently works with disjunctive forms and an expanded palette of sound; the pieces presented here are representative of the composer’s aesthetic on both counts. He also creates what he calls “deconstructions”—electronically manipulated recordings of previous performances of his work, one of which is included in the set.
DeLio’s rhetoric of discontinuity and rupture is particularly on display in two versions of inents (2015), an electronically-processed setting of P. Inman’s poem aengus for six voices. Inman’s fragmentary text lends itself well to DeLio’s treatment, which proceeds over a broken surface of silences, electronic sounds, and spoken words. The brief – en/l’espace de…(2007) for soprano and orchestra draws a minimum of sound from a maximal surrounding of silence; the pleasure of the piece consists in its paradoxical leveraging of the greatest instrumental resources to produce a microeconomy of sound.
The deconstruction included here is thoughtfully juxtaposed with the performance it takes as its source. The source, 1990’s anti-paysage for flute, piano, percussion and electronics, anchors isolated sound events in an ocean of silence; its deconstruction, anti-paysage II (2013), reduces the original recording’s already reduced surfaces to a glittering, second-order abstraction.