Visions of the Void is a walk at the edge of the abyss. You can not see what is in. You can only take a vision of what it could be...
The work is conceived as a double sided reality: a real one and a virtual one.
The real part is the piano, which it's alive and walks a given path, following the vision in an introspective way. The virtual part is the electronic, which creates an imaginary space within real space where the live component is moving.
Both realities will communicate: the piano receives the influence of the electronic and reacts to it whereas the electronic will sound different during the performance of the piano.
In order to achieve a real unity between the two aspects of the work I focused the composition of both on the same technic: the spectral analyze of given sounds and its re-synthesis through the components of the work: the real and the virtual one.
With the aid of the AudioSculpt Software (IRCAM), I analyzed the samples through the graphical representation of the partial components of the sound or "Sonograms". So I can find the exact frequencies of these overtones and translate them to musical pitches that will serve me as structural material for both parts of the composition: They will define the pitches which I will use on the electronic and the notes of the piano as well as the musical "colors" or "textures" of both.
The electronic, will be a reflection of the "real" piano: the raw materials were piano samples. In this way I will reach an exchange of information between the real and the virtual world: Something taken from reality will come into reality again. The structural materials (the frequencies of the sound's partials) steer the choice of the recorded sounds of the instrument. The piano interact with the electronic in a structural level: as it will be the raw materials for the electronic, it will define textures and colors.
For the process of the raw materials I used diverse software: AudioSculpt, Spear, RTGS, granular synthesis (MaxMSP) and Live (Ableton). For the spatialization I have used SPAT: This is an MaxMSP application developed at the IRCAM, with multiple variable spatial possibilities. The final montage took place in ProTools.
Jorge García del Valle Méndez (1966*) grew up in Spain, where he studied bassoon and composition. Since 1996 he lives in Dresden, Germany and studied at the Hochschule für Musik Dresden: composition and electronic music. He finished his studies in 2002. His compositions are worldwide premiered and broadcasted since 1993. He frequently receives commissions from various international institutions. Through electronic music he became interested in digital analysis and sound processing, which he has applied to his theoretical works as well as his musical compositions. He has also researched into digital analysis in Bassoon multi-phonics and their sound possibilities in the application to contemporary music. In 2005 and 2012 he was scholarship holder of the "Kulturstiftung Sachsen". Prices: Salvatore Martirano Memorial Composition Award Competition of the University of Illinois (USA), 4th Composition Award of the Sächsischer Musikrat (Germany) both 2006. 5th Composition Award of the Sächsischer Musikrat (Germany) in 2007.