Every piece expresses a certain musical idea which reappears as an echo in another one and associates them. To play the double game, based this time on musical memory, a certain number of keys has to be pressed in a silent chord with the tonal pedal before starting to play each piece. While the pianist is playing the piece, the played sounds create interactions with the reverberations of the open strings whose keys remain pressed so that the pianist finds himself in front of another instrument that Stroppa named "piano d'amore", an allusion to a baroque viola.
First book of Miniature estrose consists of 7 pieces. The piece Moaï has the name of giant statues of Rapa Nui, as the last witnesses of the first culture of Easter Island. Ninnananna clearly aludes to a lullaby, sleep and dreams, but is in fact dedicated to the state just before falling asleep, when everything is possible, when rational control is disappearing and a sudden memory announces a dream. Innige Cavatina is a subtle game between sounds and reverberations. Based on Beethoven`s Cavatina op. 130, it echoes it by some principal notes that create together with the rest a charming, sparkling musical lace. Birichino is a lucid, lovely illustration of meaning. Passacaglia canonica is written more strictly, with rich palette of colours. Each motive is associated to a certain canon in opposition to others by differences in rhythm, stroke, and reverberation. The piece is interrupted from time to time by sounds of other miniatures in order to create a permanent tension between a strict form and its turns. Anagnorisis I depicts the most dramatic moment in Greek tragedy, the moment of Oedipus`s revelation. It`s written in five different cycles, preceeded by a prologue and ending in a long epilogue. The central part of it is an interesting game of "photographic negative", where notes in fact represent pauses. At its drammatical and emotional peak, the epilogue begins, calming and announcing the ambiguous feeling of the Ninnananna piece. Tangata Manu describes an old custom of inhabitants of the Easter Island. Four gods in competition must descend from the rock of Rano Kau to the ocean, to find a sea-swallow`s egg. The one that finds it first wins the race. The piece was written for the 70th anniversary of Luciano Berio and deals with flying from different aspects: acoustic, aesthetic, physical, mythological and spiritual one. To commemorate the occasion for which the work was written, Stroppa interjected some themes from Berio`s opus into the piece.
A real jewel, the Little i for flute and chamber electronics, was written in 1996, inspired by a poem of e. e. cummings. The title is suggestive by its double meaning (i standing for "me" or "eye"). Again, it relates a classical instrument, the flute, to electronic sounds, coming from two sources. Together, they suggest the intimate relationship of a chamber trio, with some exchanging of solos. The piece has a dynamic form of an arch in order to articulate the instruments' sound in different ways. Special attention was paid to the position of the flutist as he appears on four different parts of the stage, as well as to the disposition of loudspeakers in order to create an echo, to multiplicate and differenciate sounds from classical and electronic sources.
One of Stroppa's recent works, Zwielicht for double-bass, 2 percussionists, electronics and 3-D space projection, was performed for the first time in Cologne, in 1999. According to the composer's presentation, it describes the twilight, the light of the sky between daylight and darkness. He compares it to the sounds of instruments as well as to electronic sounds. The second sounds surround the audience and present the twilight by being more than a simple sound and yet not a complex acoustic form. Besides these sound characteristics, the piece also explores its projection into space. Coming from numerous loudspeakers that are placed on the stage in the hall, sounds create geometrical acoustic forms by various directional combinations among the speaker placements. The formal and temporal divisions of the piece refer to the idea of the golden mean, so often followed by the alchemists. At the same time, the multi-formed structure of Zwielicht reveals the various dimensions and relationships within the personality of the individual as a symbolic psychological dimension.
Closely connected to modern technology that corresponds to his lucid and vivid spirit, but a humanist in soul, Marco Stroppa creates music of the future, music for posterity, but in a noble humanist spirit: music for man.