The origin of this work is the template for making bobbin laces. I adapted the perforated paper of this template on the size of a player piano roll. As it came out as a multiple rythmic piece, I splitted it up in 5 voices and composed a music piece with them on the computer. Then I perforated a new player piano roll with the result. This audio is a mix of the player piano and the recording of the bobbin lace makers of my neighbourhood in one of their creative and social reunion.
Every Sunday, outside the market of Sant Antoni there was a secondhand book market. The holes on the piano roll for this piece originate from the imprints that the stands of the booksellers left on the soft targround of the sidewalk. The position of every hole in the ground in reference to each other and to the sidewalk as a whole was determined by the help of a measuring wheel, reduced to the scale of the player piano roll and perforated in the paper. (Barcelona, 2012)
Live recording of an experimental piece of music for player piano and cello.
The holes produced by hungry woodworms on the surface of a wooden table are transferred to a paper band of 28,5 cm width and 230 cm length, which is rolled up and fit into the mechanism of the player piano. The same holes are transferred to staff paper and given to an instrumentalist.
In this recording, Carles Garcia de Castro Meseguer on player piano and Alfonso Carrasco on Cello find a common interpretation of their respective scores. (St.Pere de Vilamajor, 2010)
A recording made during the pause of a classical concert in the conerthall Liceu, Barcelona.
While the audience of the concert steps out of the auditorium and meets in the hall, with a cup of cava, talking and laughing, the little, fragile sounds of the jingeling glasses emancipate from the common murmuring and create their own little show. (Barcelona/Dresden, 2003)
The border between France and Spain. All the Villages marked on a map are being read from west to east simultaneously, the French villages by a French and the Spanish villages by a Spanish speaker.
This sound collage is based on the artwork of Gundel SC and poetic essays that were edited in a catalogue for an exposition.
The voice reflects the searching for a formal language; fragile, tentative and at once desperate and powerful . The search is frustrated by outer influence and yet never given up. Every time it gets up with more strength and insistence until finally overcomes. (Dresden/Stuttgart, 2001)
This piece is made with a software that turns a graphic score into music. Like in other graphic software, different layers can be superposed.
In this piece the first layer contains a straight line and the second another one, that intends to match exactly the first one. The third layer contains the same attempt of covering the first line, extensively unsuccessful, like the previous. In the end five superposed lines are converted into the sound of piano.
As the piano is a percussion instrument, what actually sounds are the failed attempts of matching, the deviation from the original line. (Dresden, 2001)
The first lines of “Monologue in the Study” (Goethe :Faust, Part 1) are read by a German in Chinese, by a Chinese in Spanish and by a Bolivian in German, whereby none of them dominates the language of the text to read. The recording was not manipulated in order to maintain the tonal delicateness that result from each readers incertainty or amazement about the strange products of the own voice. (Dresden, 2001)
This soundpiece bases on a graphic work, which completes the listening in form of an artist-book.
102 pages of text in a book (Associación de Amigos de la Obra de Cervantes: “En un lugar de la Mancha”) are covered with ink drawings. Sporadically some words are omitted or accentuated, ignoring their textual coherence.
These literal residues are read, recorded and rearranged to 102 short sound poems according to the graphic requirement of each page. (Cuenca, 2000)
Three Spaniards read an excerpt of a text in German, in ignorance of this language. Every one of them has a different and very particular way of pronouncing the unknown words.
The most peculiar sounds of every reader are isolated and rearranged to a new composition, in which the words loose the rest of semantic reference that they could possibly have had. (Cuenca, 2000)
A recording of little seeds falling on a parquet floor arranged to a rhythmic composition in three parts.
Each part is manipulated by an increasing number of filters and thereby alienated from the original sound. A common rhythm keeps the single parts together. (Cuenca,2000)