This composition is my third that plays with the interaction between an acoustic instrument – piano played by Lluïsa Espigolé – and the computer, with real time sound processing platform MAX-MSP.
In this collection of pieces (all developed with the same software), the author conjures a series of concerns which stem from the contact with the theatrical language and certain contexts of algorithmic composition. Always looking for a dialogue between the poetry of action-reaction between the instrument being recorded and the transformation of sound which happens in real time, simultaneous to the live interpretation.
The piece contains some visual and theatrical aspects that will not be appreciated in an audio recording: namely, the performance starts on a stage under total darkness, a darkness that will gradually fade eventually 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 and included in the monographic CD, Reflections.
You can listen to the live recording of its premiere at the Auditorium of the Ateneu Barcelonès on May 25, 2012 on YouTube: