The [Music] Room
of the Rosens’ house—the room itself—witnessed many an evening of music being executed in it by Walter Rosen (piano) and Lucie Bigelow Rosen (theremin) themselves. The [Music] Room—the sound installation piece—manifests as an apparently imminent state of eternal quasi-presence. The performers and the audience have already left the room. The involuntary sonic presence of both the instruments and of those who attended the concert, however, refuses to leave. It will resonate forever within these confines as a quasi-music that somehow surpasses the original; with its own self-sufficient presence, beauty and pride. Or, seen in a different light: that “original” situation of performers and audience is probably being reenacted now — in front of us — in a parallel realm of which we can only sense its most alluring aspect: the noise in the music.
The automatic piano performs compositions taken from Walter Rosen’s preferred classical repertoire. The theremin performing sounds have been evolved from original recordings by Lucie Bigelow Rosen on the theremin.
— Francisco López
Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than thirty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world: destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.
He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over seventy countries on the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 300 record labels / publishers worldwide. He has been awarded honorary mentions at the competition of Ars Electronica Festival four times and is the recipient of the Qwartz Award 2010 for best sound anthology.