This composition is the third that addresses the interaction between an acoustic instrument, with Lluïsa Espigolé at the piano in this case, and the same computer system using the real time sound processing platform MAX-MSP.
In this collection of pieces developed with the same software a series of concerns come together which arise from the contact with theatrical language and certain contexts of algorithmic composition, always looking for a dialogue between the poetry of action-reaction and the recording and transformation of sound in real time of the live interpretation.
The piece shows some visual and theatrical aspects that will not be appreciated in an audio recording since it has to start under total darkness; a darkness that will gradually vanish revealing a pianist sitting in front of the piano whilst a sonic background is generated by the computer in real time. The performer interacts with the piano discovering its elements (keys, harp, sides, etc…), starts hitting them and even makes the stool screech before playing the instrument in a more conventional manner. From here onwards the characteristic game of action-reaction begins, with varied and slanted designs that feed back to the computer. The piece closes with the discovery of harmonic verticality over a relaxed breathing. The composition is dedicated to Lluïsa Espigolé. With Lluïsa Espigolé’s piano that composition has been included in the monographic CD Reflections.
You can listen to the live version of its premiere at the Auditorium of the Ateneu Barcelonès on May 25, 2012 on YouTube: