El mismo

for piano and two-channel soundtrack

Dedicated to Bruno Mesz

Sounds emitted through loudspeakers bear the mark of specific processes. They embed spatial and tactile qualities linked to the way these sounds have been created, either arising on a strategy of synthesis or from the procedures and conditions involved in a recording process.

In "El Mismo", I look for isolating those characteristics peculiar to certain reproduction and manipulation technologies that hence become signs in themselves. The process by which they become signs is genealogical, it involves a path of previously acquired experiences.

Our experience of the sound of a piano is constructed out of the experience of a century of history of recorded pianos in media.

One of the objectives of the piece is to arrive at a series of questions:

How is it different to hear an acoustic piano than to hear a recorded one? What is the relationship which arises between a sound coming out of a loudspeaker and one generated by an acoustic instrument? How do the characteristics in the transduction equipment affects our aprehension of the sound material?

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