Risset’s Duet for one pianist
In 1989, Risset wrote a series of short pieces for Disklavier Piano where human piano performance is augmented through a real-time MIDI computer generated part performed in the same Disklavier Acoustic Piano. The counterpart created by the computer is essentially transformative, so the computer process transforms the human input performance (MIDI) based on simple compositional mechanisms. It is one of the earliest examples of live electronics using MAX software. This early example of interactive music using MAX is very important as the computer counterpart embeds a logic that is fundamental from the music performance standpoint, and it is not constrained to simply trigger sound events at specific points in the
In 1989, Risset wrote a series of short pieces for Disklavier Piano where human piano performance is augmented through a real-time MIDI computer generated part performed in the same Disklavier Acoustic Piano. The counterpart created by the computer is essentially transformative, so the computer process transforms the human input performance (MIDI) based on simple compositional mechanisms. It is one of the earliest examples of live electronics using MAX software. This early example of interactive music using MAX is very important as the computer counterpart embeds a logic that is fundamental from the music performance standpoint, and it is not constrained to simply trigger sound events at specific points in the