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Ricardo Descalzo performs Demonic Thesis in Alicante, Spain

  • Auditorio de la Diputacion de Alicante Paseo Campoamor, S/N 03010 Alicante Spain (map)

Ricardo Descalzo "Dreaming Drums"

The piano is a percussion instrument and has been used as such in recent times. In the current composition, the creators have devised new sound possibilities of the instrument using it as a resonator box with multiple possibilities. The Toccata by Francesco Filidei is a good example of this. The piano is played and rubbed on all its surface, transforming into something new without any relation to the sonorities that have been its own to date. Moritz Eggert uses the entire perimeter of the piano in his Jerusalem piece to develop a wheel of sound actions inside the piano that are increased in speed following the rules of a well-known children's game. A small prank of enormous technical difficulty of a composer without complexes. The use of different objects inside the string makes the piano a new instrument capable of creating impossible sounds. Michelle Agnes with her Mobile has created one of the most fascinating pieces of recent years with high-power magnets oscillating between the strings. His piano pays tribute to that of John Cage and part of the same source of inspiration as his famous Gemini sonatas: the sculptural world of Richard Lippold and his gigantic tubular installations. The prepared piano that Michelle also uses gives the instrument the possibility of permuting in a different one. Thomas Larcher completely transforms the sound of his piano into Smart dust turning it into a kind of marimba where the drumsticks are changed by the fingers of the pianist traveling with vertiginous rhythms all the keyboard.

Maki Ishii imagines in Aphorismen II a shared universe where the piano is surrounded by a symphonic tam-tam, a lyre and several small percussion instruments. The pianist here expands his usual possibilities with other instruments played by himself in an imagined setup where the piano is the center. In John Psathas' Demonic Thesis, the piano seems to improvise on an electronic basis of frenetic techno rhythms created with drum sounds. Techno is also the protagonist of Anton Svetlichny's Techno music. This time there is no electronics; all sounds are created acoustically by acting on the strings of the piano in a youthful work of bravery. Benjamin Boone in his Place setting DJ, poses a small musical joke created with everyday objects like cups, wooden plates and spoons in the form of sticks that use the interior of the piano as a resonator in an attempt to set an environment conducive to a DJ with its mixer, its loops and scratching. The concert opens and closes with two dreamy fragments by Christopher Cerrone that frame the trip in a dreamlike way. Harriman with a simple melody on the background of crickets and Claremont using tuned bottles.

Christopher Cerrone, Harriman

Michelle Agnes, Mobile

Francesco Filidei, Toccata

Anton Svetlichny, Techno music

Maki Ishii, Aphosirmen II

Moritz Eggert, Jerusalem

Benjamin Boone, Place setting DJ

Thomas Larcher, Smart Dust

John Psathas, Demonic Thesis (Songs for Simon)

Christopher Cerrone, Claremont (Memory Palace)