Lysozyme Synthesis

 (2003) for piano


Lysozyme Synthesis doesnʼt intend at all to be an “autopoietic composition”. The fact of having a structure based on the biologic concept of the protein synthesis, it doesn't imply that there arenʼt discretionary processes, on the contrary, they  exist. The structure of the piece can be comparable to a draw where the main lines are delineated under a scientific  base (being mathematic, physic, biologic  or of other kind), which is logic and strict, but for example, the type of pencil  is  a  choice made by the author (still  strict by certain  parameters defined under  the referred scientific base or by the author, according to an identical logic, but not a transcription). All this fundaments, this “almost process of legitimating” of the work is of extreme importance to the interpretation. In Lysozyme Synthesis, the player can (and should) make certain choices. Specifically: along with eventual parameters that can appear into the score as ad libitum, in the bars 57 to 60, the use of pedal una cordais a choice, is ad libitum. This indication doesn't appear directly on the score, since it only should happen depending on the piano and room acoustics.

Note: the fact that I am not affirming this piece as an “autopoietic composition”, it doesn't imply in any way that the player doesn't try to play exactly what is in the score, it only intend a better comprehension of the philosophy related to the construction of the piece, in order to allow and stat clearly that each player can and should have her/his own vision, should establish nuances in the different alterations of the timbre, should be one,  singular,  basically,  should execute  the indications of  the  score  trying  to  be  as  accurate  as  possible,  using  her/his  own  idiosyncratic complex in a way that she/he believe to be the most proper. Getting back  to the metaphor of the draw, the player shouldn't create any line, colour or even blow to take out the coal  in excess, she/he should show the draw with more or less light, in  different perspectives, all in  a  way that the receiver never loose perception of the original.

Score excerpt: