While in its “classical” form, the four-hand piano piece is limited to the piano’s keyboard, this piece expands the scope of exploration to the entire grand piano, treated as a territory to be explored. 

On stage, two pianist-cartographers, Frédérique Blondy and Alvise Sinivia, and a grand piano surrounded by microphones, each connected to a speaker. Manipulated live by the musicians like cameras, these microphones allow for a multiplication of sonic perspectives by creating zoom effects, focusing, highlighting, and accentuating the texture of certain details and materials, playing with scale, and shifting and inverting the piano’s acoustic space.

Creating an immersive and dynamic experience and guided by the concept of shifting perspectives, the performers engage with the instrument as a whole, fully integrating body and instrument. Through preparations, internal playing, and extended techniques, they produce a rich and varied soundscape.

Micrographia is structured as a series of cartographies explored through various lenses—depths, perspectives, movements, peripheries, pulsations, and voids—tracking the performers’ movements and gestures across this expanded sonic space.