The title Concért [sic] Trouvé is French for "found concert"; "found" as in found sounds, since the sound sources have been produced from found objects like metal tubes, pieces of wood, and household electronic devices. The sounds of these objects have been recorded and sampled. They are triggered by a MIDI keyboard and assigned to an array of loudspeakers around the concert hall by the two sound engineers, Geari Schreilechner and Florian Prix. In addition, guitarist Armin Pokorn and pianist/composer Katharina Klement perform a score that behaves like a canvas for improvisation and interaction with the found sounds. Klement's piano was also found, left out of tune, and prepared. The hourlong piece in 12 untitled sections takes the form of a suite of tableaux. The music comes in small touches with lots of silence in between, although it doesn't get arid. Pokorn's inventive extended techniques (reminiscent in certain moments of Fred Frith) and Klement's movement between limping piano runs and textural inner-piano noisemaking sustain the listener's attention. Despite the abstract nature of the concept and the obvious desire to confuse the listener (written vs. improvised, live vs. pre-recorded performance, real instrument vs. found object), Concért Trouvé exerts a beautiful fascination. The fact that it hardly stands still, shifting its mood and changing its colors every five minutes or so, accounts for a lot of its appeal.
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AllMusic Review by François Couture