Musique soliste (sauf voix) (Piano solo)

Cette pièce fait partie d’une trilogie écrite en 1982 qui comprend les œuvres In the Accumulate Mode, Interlude in Pelog, and Solo for Three Pianos) ; l’œuvre fait également partie du cycle Piano Piece (Richard Teitelbaum Piano Plus – Piano Music 1963-1998, New World Records, n. 80756-2).

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« The Digital Piano System is a computer-controlled, electro-mechanically driven acoustic player piano system. As configured in the performances recorded here, it interfaced three Marantz Pianocorder-equipped pianos and three micro-computers to create both a multiinstrumental composing and a real-time performance system: musical material played on one piano keyboard was picked up by switches under the keys on the piano I was playing and instantly read into computer memory where it was processed, stored, and/or simultaneously output for playback by two Marantz Pianocorder Vorsetzers attached to the two additional pianos. The musical data manipulations and responses, all under immediate, run-time control of the performer, were programmed with a high-level, modular Patch Control Language (PCL), which was designed in collaboration with software engineer Mark Bernard and implemented by him. PCL currently consisted of some thirty-five software modules and their interconnections, much as Robert Moog, Don Buchla, Serge Tcherepnin and others utilized universal hardware patching for their analog synthesizers. A module is a building block that performs certain functions, such as track record/playback, transposition, inversion, delay, randomization, etc. … Prior to a concert, the composer-performer writes a patch, using English commands to define the modules that are to be used, and their interconnections. As many of each module-type as desired can be used simply by “defining” (listing) them. The patch as written here is four tracks, each configured in its own way »
[R. Teitelbaum, “The Digital Piano and the Patch Control Language System”, Proceedings of the International Computer Music Conference, ed. By William Buxton, Paris, France, Published by: International Computer Music Association, San Francisco, USA, 1984. ISSN: 1026-1087, pp. 213-216].

« Interlude in Pelog is shaped formally and sonically by the resonance and time of Indonesian gamelan music; its melodic curves and flavors and harmonic/rhythmic/percussive contours are unmistakably evocative but—as I’ve come to expect from Richard—totally nonliteral and newly invented » [Benjamin Boretz, liner notes in Richard Teitelbaum Piano Plus – Piano Music 1963-1998, New World Records, n. 80756-2; https://nwr-site-liner-notes.s3.amazonaws.com/80756.pdf]