Particularly focused on performing new works. Unrepeatable instrument, and probably the wrong medium for a pianist But itД¬an achieve the softest and most beautiful of pianissimos, and its toneД¬olours are naturally uneven and expressive. Grand piano - irritatingly metallic and clanging, some would say. Its sound is feeble when compared to a contemporary

McNulty in 2004, with the so-called Viennese action and two knee-levers fortepiano, a copy of a 1805 Walter & Sohn, built by Paul In the image above, CageвЂ™s words are projected over the inside of my Marinho & Branco - New music for old instruments. In doing so, it has highlighted a set of performing techniques, creative procedures and digital applications that can contribute to a deconstruction of the standard perception of the sound of historical keyboard instruments and to the creation of experimental paths for performing and improvising on the fortepiano through the mediation of electronic interfaces and digital sound objects. The research has exposed the aesthetic limitations of merely considering historical re-construction. We took our point of departure from two research questions: 1) Since sound-altering devices are not normally available in modern copies of fortepianos, how can we conceive and apply experimental alternatives? 2) How do the ensuing alterations modify instrumental perception and can they contribute to the creation of alternative performing solutions, namely in association with improvisatory practices and sound synthesis? This project addressed the digital expansion of fortepiano features using techniques of sound design and programming, studying how these interact with the performing and improvising processes and questioning a sonic image of the fortepiano's affordances that is limited by the perception of the standard devices available on modern pianos: the sustaining and the *una corda* pedals.

Max msp piano