Finally, in the third movement, the main idea is the use of fragments of harmonic fields deriving from spectrums, each with a different fundamental and a semi-tone apart from the others; each of these fundamentals constantly slides within the space of a major second. This procedure so dear to me generates moments of absolute harmonic concordance but more often of extreme spectral distancing. The overlapping of sound objects built on the basis of harmonic fields of combinatorial origin, the dialogues in space between the instruments and electro-acoustics always deriving directional processes and the gradual descent, not regular in register, from the beginning to the end of the movement, complete the synthesis of techniques that I have experimented previously in other pieces, such as Exabrupto for 3 groups of instruments, a pianist and a percussionist, De ignoto cantu for ensemble and electro-acoustics, and various others. 

The central movement (dedicated to the memory of Berio and Maderna), concentrates more than the others on the essential meaning of the term “mixed”, something that is made up of elements of different origin. Berio had already experimented with this idea in his Sinfonia by using fragments of works by composers of the western tradition, while in the 1990s Donatoni composed a splendid reworking of Bach’s Arte della Fuga. But I could cite many more examples. Reflecting on the third movement of Berio’s Sinfonia, I had long thought of the opening as a gateway pointing to the future; so on the basis of this idea I decided to take up the first movement of Mahler’s fourth symphony as the backbone to the second movement of Sinfonía Mixta, with significant differences compared to Berio’s work, above all that of not limiting myself to the models of composers who worked during the first half of the 20th century; so I decided to broaden the historical perspective towards two Italian composers who were pioneers in electro-acoustic music, namely Berio and Maderna, by including quotations from electronic pieces by both composers. Other important differences include the quotation of not only large orchestral compositions but also chamber works, as well as the most obvious aspect of all: the sonic means employed. 

The three movements make use of contrasting sonorities, but certain elements from the first movement reappear in the second and third, while other material used in the third movement is actually anticipated in the first. The golden section is used as the basis for the whole structure of the work, but is reorganized in a kaleidoscopic fashion, in what you might call labyrinth-like moments».