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LOPEZ, FRANCISCO - Untitled #275

Format: CD
Label & Cat.Number: Unsounds U26
Release Year: 2011
Note: hearing is believing - LOPEZ works with PIANO-sounds, delivered by REINIER VAN HOUDT; two stunning pieces going to new directions
Price (incl. 19% VAT): €13.00


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"A two part work based on a radical reconception of the piano. 'Movement 1' is a composition created for Reinier van Houdt that utilizes some extreme preparations, it is a 20 minute tour de force. 'Movement 2' is a studio sound transformation of the initial piano part, where one hears the exploded and recombined sonorities of the piano taking on an immersive sonic dimension as one has come to expect of Lpez's work in the last years. The collaboration with pianist Reinier van Houdt has produced an intruiging and original work of instrumental music, a highlight in Lpez's oeuvre. It is his second release on Unsounds." [label info]

www.unsounds.com


"From the many works of Francisco Lopez only very few are created for real instruments and with real players, but 'Untitled #275' is such a work. A work created with Dutch piano player Reinier van Houdt of the Ensemble MAE. Two movements, of which one leads to another. In the first movement Lopez created a work for Van Houdt on a mechanically-prepared piano and the second is a 'evolutionary studio transformation' of the first movement. The first movement starts out loud with a repeated fast banging on the piano for some five minutes, followed by a movement that is very soft, but also repetitive, to return for some more banging and a long fourth part of sheer silence, ending on a sparse note. An intriguing piece of modern composed music. In the second movement, the piano sounds return and sound indeed like a piano - most of the time. Sometimes they are slowed down, sometimes they are pitched in a different way. None of this movement gets very silent, but the dynamics are pretty extreme from time to time. Lopez creates a very spacious piece here of long sustaining sounds, with the use of additional reverb and plenty of equalization to create a different kind of piece. Towards the end a more computerized treatment arises from all of those which sound a bit more crackling with a deep end solemn bang on the can below. Now I'm not sure if Lopez consider collaborations like this on a more regular basis, but I hope he does. Field recordings might be his main trade, its here, in works like this, when we hear him do something out of his usual ordinary, and I think he does that pretty well, so it should be explored more." [FdW/Vital Weekly]

www.unsounds.com