This Biennale-commissioned work is a composition of different ‘musical machines’: on one side, the organ of the local music conservatory, itself the combination of two mechanically-linked organs capable of very original modulation of different registries; on the other, electronics, with their wide array of possibilities of sampling and digitation of sound. Mitterer uses mechanics and electronics to take to the extreme a kind of inspired improvisation that uses no given score and can afford to travel through multiple channels and involve the audience in an individual artistic itinerary, fleeting though it may be.
