C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Lazkano, Ramon: Petrikhor 



Basic information

  • Title: 
  • Subtitle: 
    pour piano
  • Composer: 
  • Duration (in minutes): 
  • Year of composition: 
  • First performance (year): 
  • First performance (venue): 
    Festival Ravel (Ciboure)
  • First performance (performers): 
    Jiwon Jang, piano
  • Publisher: 
  • Genre: 


  • Program notes: 

    PETRIKHOR (2017) for piano

    Petrikhor is the scent produced by wet soil: the term, coined in the sixties by Australian researchers, refers to the sap of stones, as if a divine blood flowed through them. I thought it could be an appropriate metaphor for this piano piece: a fluid which, after infiltrating into porous materials, would exude aerosols, particles suspended in air. Thus, like a material both distant and continuous, the polyphony of the work unfolds through resonances and harmonics, subtly changing and almost inaudible; it is released and activated by lines and pillars with granite reliefs and slow and rarefied accents, and its trajectory falls into extinction. A body of sounds is kneaded; the work is defined as a hinge. While scrutinizing the pieces important to me when I was young, it stands at the crossroads of the technical and stylistic processing of this instrument which I regard as mine. More than models, the instrumental characteristics and formal specificities of these pieces are a sort of fantasized lake of thoughts, as if they were wells to be drained, whose stolen waters would irrigate a new sound extension. The exploration of the density amplitude and of the stealthy virtuosity become an engine and the harmonic vertigo and the exaltations, the blood of a music that can be no longer. Through the mist of a melancholic gaze, Petrikhor yearns for the emaciated awakening of that which can no longer be expressed.

  • Technical specs: 


    It is advised to enhance the performance with loudspeakers for weak harmonics and resonances which would otherwise remain inside the instrument to be sufficiently projected in the concert hall. Sound enhancement must not alter or equalize the dynamic relationships and must not try to produce a louder amplitude of the sound volumes. Two loudspeakers on both sides of the piano, at a convenient distance in order to not to multiply the percieved sound sources, should suffice. At least two microphones would be necessary to capture the resonances in an appropriate way.

    All diamond written notes must be silent and their duration must be strictly observed. The two pedals are written so as to make sure that the different levels of resonance are maintained and continuous. Towards the end of the piece, it is necessary to adjust both feet depending upon one’s aptitudes in order to ensure the transitions between una corda and tre corde.



Total number of musicians: 
Ampflied ensemble (no electronics)



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