The piano, in this new cycle of canons, is conceived as the co-presence of three discourses – three compossibles – with, always, the cast shadow of fragments from Johannes Ockeghem's Missa prolationum. The fantasy of the voice often lingers when it comes to the piano. Here, it is through memory, the work of reminiscence, that the percussive sound tries to tear itself away from the failure of the continuo.
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