In 1985 the composer Pierre Boulez wrote “Dialogue de l’ombre double” for live and pre-recorded clarinet, whose musical score includes technical instructions for use during the recording session and the live performance. The composer’s recording instructions define studio acoustic conditions like: the use of three microphones (direct, indirect and by piano), the distance between the first two microphones and the clarinet, the amount of reverberation and the procedure for exciting a piano by the clarinet sound. This paper reports about a different way of playing this composition that while fulfilling the composer’s prescriptions, acoustically enhances the musical performance. In our acoustical interpretation in fact the recording of the clarinet “double” was performed into an anechoic room and the use of convolution techniques was adopted for the fulfilment of the score prescriptions. The first live performance based on …