The titles of the work Cerdaña are very precise and require knowledge of the situations it describes when performing. There are various authors who addressed the presence of elements of Catalan music in Séverac's piano work, with Fábregas, Waters, Catherine Buser Picard and Guillot being the ones who have made the most of it. But no one has linked them to the performance, has tried to seek for a contextualized analysis. 

 

In my opinion, the texture and the writing in Cerdaña, together with the structure, have a lot of common with the cobla ensemble, as the melodies, the time signatures, the accompaniments, the rhythms and the “sound effects”. With my performance I have tried to achieve the maximum difference between registers; to make "rustic" effects with accents, basses, chords, pedal notes, fifths, and ostinati; not to hide the accompaniments, to emphasize the secondary melodies to get closer to the sound of the cobla. I have also searched for this sound because I wanted to exploit the possibilities this resource brings to me to contextualize this work from my own imaginary soundscape of Séverac’s one. 

 

To conclude I would like also to point out that works also have second chances from the context of the performer and not just the composer. This conviction has led me to draw a line between the past and the present, giving the listener the opportunity to move from the here and now through sound, experiencing the same situation that is sonorously different. 

 

The soundscape is a catalyst for imitations, evocations, memories and affiliation. It is amply reflected in the work of Séverac, Picasso and Braque, but also in listening to and viewing that work, giving us the opportunity to experience it a century later and generate a new relationship with that soundscape, currently converted into an imaginary sound for us.