The sound material used in this composition by the sound art ensemble “NooK” comprising Dirk Specht and myself originates from a surreal scenario: a destroyed Blüthner grand piano from Leipzig discovered on an abandoned construction site in Belgium. Over time, weather conditions and vandalism have significantly deteriorated the piano: keys are missing, strings are partly broken, the wooden frame is warped, and fragments are scattered throughout the space. Despite its state, remnants of the piano's original form remain discernible. However, the influence of external factors has transformed it into something distinctly different from its original resonant state. We conducted extensive tests on this altered instrument, focusing on its sound-producing capabilities within its current environment. Our exploration primarily focused on spatial and acoustic characteristics, examining its potential and effects in situ. Through a combination of recording techniques and performance, we captured the fragmented acoustic environment surrounding the piano, which we later reinterpreted and manipulated as guest composers at the Ambisonic concert hall and studio CUBE of the Institute of Electronic Music and Acoustics in Graz. This process enabled us to reconstruct and reimagine the sonic landscape, transforming discrete moments of sound and stimulation into a cohesive artistic expression.
