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This piece is composed by a series of recorded sounds, all produced by percussion instruments, played by Pilar Subirà. Each recording has been edited, cutting the attack, at the point where the harmonics disappear and keeping only the natural resonance and decay of the sound.
All the sounds are acoustic without electronics or processing.

lyrics

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.

credits

from Aura, released September 1, 2010

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Alfredo Costa Monteiro image

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.
costamonteiro.net

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