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Aura
51:13
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When I started to record Pilar Subirà on percussion, I had no idea of how the whole piece would sound. Once with the recordings, and after having cut the impact, I had in hands a huge quantity of different sounds and timbres, and the first problem I was confronted to was election. How many possible combinations would result from more than two hundred recordings? In front of the abysmal probabilities, I let myself to be guided by the intrinsic characteristic of the sounds and took the decision to work by timbrical families and by a kind of sonic alliterations. It also appeared to me that working this way, I could build a piece with significant atmospheres and a more focussed presence. And while I was working on this process, the piece started to achieve a spectral form, due to the lack of impact, floating slowly in the room. A phantomatic essence, made of almost unrecognizable sources, that focalizes on what we could call the second presence of a percussion instrument: its “re sonance” and reverberation.
In the end, my intention slowly became clear: I worked on giving to this second presence an autonomous sonic corpse.
A nocturnal or late night listening is recommended.
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Alfredo Costa Monteiro Barcelona, Spain
Alfredo Costa Monteiro is a sound artist, composer, multiinstrumentalist and sound poet who works in the field of experimental music. His work is regulated by conceptual restrictions and a special care of textures.
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