Felipe Lara says:

In this work I explored the very personal subject matter of multilingual systems. Having left my native Brazil ten years ago and lived in five cities in three distinct countries, thoughts and ideas come to me in various languages and they remain in that particular idiom without necessarily having to be translated to the mother-tongue Portuguese in order to disperse their fullest content. Similar processes happen in this work, only now language becomes a metaphor for style/genre – or even more specifically certain techniques associated with them. The three musical languages I’m referring to in this piece are what I shall call Mobile (intervallic permutations of musical objects), Electro-Acoustic (noise, spectral, timbre/harmony, modulations), and Concrete (fixed noise/sound objects). I did not intend to create eclectic juxtapositions or stylistic superimpositions, but rather to negotiate the otherness of each distinct style, and to unify radically distinct musical syntaxes. For me this open-sesame of Babel opens otherwise impossible connections and along with them creates new interesting compositional problems. The often discussed issues in contemporary music regarding the lack of a supposedly lost musical lingua-franca are not to be taken lightly, however those asymmetrical networks instigated by multi-lingual incompatibilities create extremely fruitful perforations on musical discourse. The title would translate to “vocal chords” in English, but in Italian would to “vocal strings.”

mivosquartet.com