If there is one thing technology makes possible, it is to transport the composer's imagination to unknown sound worlds. Fifty years ago Stockhausen had already anticipated the potential of live interaction: a visionary anticipation that would become apparent years later in the emergence of the mixed repertory for solo instrument and electronics.

​

In the case of Klaviere, I have aimed to explore the classical sound splitting by means of a re-reading of the instrument, I construct a universe in which the ambiguity between the real and the unreal imposes itself. From the acoustic piano four more pianos emerge which dialogue with the first, creating a contrapuntal web over which the pianist navigates, travelling between the rigorousness of the score and the freedom of interaction itself.