Sound is a momentary ripple that disturbs the air and then just as quickly is gone. With Sonho Perdido, a slowly developing suite in four parts, Pedro Chambel (electronics), Bruno Duplant (electroacoustic devices) and Paco Rossique (piano, percussion and electroacoustic devices) take this fundamental observation as their starting point. The predominant mood is of ephemerality, of the presence of sound as being haunted by its impending absence. At the center of the suite are piano tones poised on the brink of a silence that itself is wrapped in a drifting electronic mantle. Rossique’s piano part seems to be an etude devoted to depicting sound envelopes—rather than melodies, there just is the immediate onset and long slow decay of a note into the unhurriedly modulating ether of Chambel and Duplant’s electronics. The music is accompanied by a liner note featuring Rossique’s long poem interweaving allusions to shadows and sound, which is quite nicely in the spirit of the music.
Sound is a momentary ripple that disturbs the air and then just as quickly is gone. With Sonho Perdido, a slowly developing suite in four parts, Pedro Chambel (electronics), Bruno Duplant (electroacoustic devices) and Paco Rossique (piano, percussion and electroacoustic devices) take this fundamental observation as their starting point. The predominant mood is of ephemerality, of the presence of sound as being haunted by its impending absence. At the center of the suite are piano tones poised on the brink of a silence that itself is wrapped in a drifting electronic mantle. Rossique’s piano part seems to be an etude devoted to depicting sound envelopes—rather than melodies, there just is the immediate onset and long slow decay of a note into the unhurriedly modulating ether of Chambel and Duplant’s electronics. The music is accompanied by a liner note featuring Rossique’s long poem interweaving allusions to shadows and sound, which is quite nicely in the spirit of the music.