Stereo recording of the short version:
Taking as starting idea the articulation of the chapters of the book “Through the looking glass” (by Lewis Carroll), the piece builds figures of diffraction between a musical plan and a meta-musical plan, which operates on a higher level (let’s say, on the other side of the mirror).
The contrast between this meta-world and the world of pure sounds produces an analogous diffraction between a concert-like situation and an installation-like situation, which obliges to face the different more or less conventional “paradigmes d’écoute” of music and sounds: especially the mediate listening, the passive or unintentional listening, the re-listening (both real and in memory). Each “chapter” of the work explores one of those paradigms, where Carroll’s words are first of all a pretext to “point” to something else. Moreover, these paradigms, which entail a quotational work, are all ways to give the sounds a semantic value. And as soon as the sounds become words (gaining a semantic value), the words lose their sense, and turn into meta-words (words which hold, as a faint shadow, traveling towards the other side of the mirror, a trace of their previous meaning).