"Mobile" is a work that deeply resonates with me because it engages the listener's imagination in a visionary way, offering unheard sonic qualities that defy convention. Written in 2012, it references John Cage's "Sonatas and Interludes" (particularly XIV-XV, 1948)*, which introduced the concept of preparing and playing inside the piano. Michelle Agnès Magalhaes' approach to preparation is unique, fostering the unstable energy of sound. An array of carefully selected objects— including 11 tubular magnets delicately balanced— dispersed among the strings, allows for manipulation of the complex nature of the strings, varying tones, pitches, and harmonics beyond the identity of the note.

What particularly intrigues me about "Mobile" is the concept of mutation that underlies both the generation of sounds and the form of the work. The initial sounds, immediately rich and suspenseful, seem to refract into punctuated, rhythmic elements. These articulated figures then give way to echoed, repeated bursts that proliferate and stretch towards a continuous, boundless sonic expansion.

This mutation is truly astonishing. The listener experiences an internal transformation, a "molting" that begins with distinct, identifiable elements and projects them into a multitude in expansion: an outward journey towards the cosmos. It's a music rooted in the physicality of sound that places significant emphasis on the interpreter. (Pascale Critton, Carrefour de la Création, Radio France, 12/12/22)