ambiances to the music by erik satie (for chamber music scene, drone–piano, voice and vocoder) (Slow walking (in)to))) Pièces froides ’ Il y a tout de même à réaliser une musique d'ameublement, c'est-à-dire une musique qui ferait partie des bruits ambiants, qui en tiendrait compte Je la suppose mélodieuse, elle adoucirait le bruit des cou¬teaux, des fourchettes sans les dominer, sans s'imposer Elle meublerait les silences pesant parfois entre les convives Elle leur épargnerait les banalités courantes Elle neutraliserait, en même temps, les bruits de la rue qui entrent dans le jeu sans discrétion ’ a dominant (yet not detuned) grand piano due to frequent preparations is rained upon discursively into the rickety piano keys ’ into which the blue fingers plunge neither in extension on the inside they tighten up and over them colourful sounds tremble’ ((( endless falling into a blurred sound vortex by extending indefinitely ))) ( ’ de manière à obtenir un creux’) a deep line precedes the chord entry and leaks ’ balanced phrases expand endlessly across the empty room whose walls are built of parallel mirrors’ conducting rain into rain | | | |||| || ||| | |||| || | ||| | ||||||| || | |s|m|||e|||a|r|e|d|| | | ||s||c|o|r|e|s| || |||u||n||d||e|r||n||e|a|t|h| || |||| | | the fragment takes on the meaning of the whole (((at intervals))) in tremble (without a clef and time signatures) walking by his language from the sound outcome towards the act of performing ’ where the sound acquires the status of that act’s consequence ’ an attempt at walking along the invertedly toned score of walking upon the same sample at equidistance w a l k i n g b y h i s l a n g u a g e h o w t o a d a p t t h e t e x t t o w a l k i n g ? f r o m t h e s o u n d o u t c o m e t o w a r d s t h e a c t o f p e r f o r m i n g ’ w h e r e t h e s o u n d a c q u i r e s t h e s t a t u s o f t h a t a c t ’ s c o n s e q u e n c e ’ ’ I t h a s c r o s s e d m y m i n d t o g e t m y s e l f i n t o t h e s t a t e o f d e r a n g m e n t , a n a t t e m p t a t w a l k i n g a l o n g t h e i n v e r t e d l y t o n e d f i n g e r – c o u n t i n g s l o w l y f r o m o n e t o t w o h u n d r e d a n d s i x t y t h o u s a n d ’ s c o r e o f w a l k i n g u p o n t h e s a m e s a m p l e a t e q u i d i s t a n c e ( t h e r e d u c e d m u s i c a l s e q u e n c e r e p e a t e d i t s e l f a n d t h e r e p e t i t i o n r e p e a t e d i t s e l f ) l e a k e d it’s midnight ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||r||||a||||i||||n||||||||||| the midnight was already long gone for a long time not a drop of rain ’ But where did I leave my umbrella?’ ’ All night long the sound kept coming back and again ’ the tongue of a plash strewn with water lilies (’ être visible un moment’) in the puddles along the dimly lit street inscribed concentric circles ( progressions follow up elliptically giving a sense of bareness almost hallucinatory in its distance ) different inscriptions along Pièces froides (contemporary piano performers tend to bring the piano closer to the harpsicord) in puddles by disappearing the circles are interrupted not by disappearing, by ephemeral discontinuity continuity ’ In order to write my Pièces froides I used a kaleidophone for registering It took me only seven minutes’ (’ Très luisant’) a couple of years ago (’ avec un grand oubli du présent’) to step into ))) his footsteps along steep streets paved with endless tone monologues (’ Du bout de la pensée’) inaudible walk paints whitenesses paints areas of white coordinates he took to trudge inaudibly to arcueil at a particular pace under a halbcylinder hat under an umbrella out of that ’ de(ep)dicated’ walk came his-her treatment of the piano rewalking his walk slowing down determining temporality of what I imagine to be his walk walk is an ’ ostinato’ line is a sound range is repeated is a repeated figure which is an interval ’ which is a difference, a delay , a suspension’ walk (’ It is not a question of (his) relevance He’) is indisPACEable! to dislocate oneself from one elusive ambiance (’ Airs à faire fuir’) and insert into another t o w r i t e ( o r c h e s t r a t i o n ) t h r o u g h h i s w r i t i n g s r a i n i n d e s c e n t i n ( a n ) o t h e r e l u s i v e a m b i a n c e i t i s a n e n o r m o u s w a l l i n a s c e n s i o n ((((((((((((((((((((((((((((((((( TO STAND MOTIONLESS IN THE RESONANCE GARDEN )))))))))))))))))))))))))))))))) and ’ r e p e a t i f d e s i r e d ’ r e p e a t r e p r i s e s t h a t w i l l s u f f i c e f o r a l i b r e t t o c i t i n g p r e c i o u s m o m e n t s a t l e a s t , a r e c i t a t i v e a l w a y s a n e w a l w a y s f r o m t h e b e g i n n i n g modelled upon melancholic voice modulations t h e m u s i c a l c o n d u c t o f f i g u r e s ( ’ très étonné’) t h e r e c o n s t r u c t i o n o f d e c o r a t i v e m o v e m e n t s ( ’encore étonné’) towards the aspects of performance and language of performative the piano is closed during the performance Dances preparedly Stumbles towards metamorphoses embodied ’ into encompassing the surroundings of sound propagation in music as furniture’ perchance what is needed is going back to old notes sound–filled with static semitones (if they are) underneath the layers of changed meaning (’ Chapitres tournés en tous sens’) on the way home silence all the more kept shutting itself on the way home make a note of every step’s pitter–patter every rain’s pitter–patter in the score only during the performance ’ Fortunately, the umbrella wasn’t particularly expensive ’ a couple of years ago to step into the footsteps ))) into the rain ))) sometimes deep–frozen so that the step is half a foot shorter than the footprint and synchronized at the ninth foot ((( in the ’ Vortex of the Text’) in the overtakings in the walk by alternating upon the same sample at equidistance (the broken chords) in the left hand (the footstep becomes equated with the step) (as by repetition as a return to repetition at certain places a new theme altogether is a contrast to the sequence of performing the old one which, affected by the method of mapping (of difference?) unfolds more spontaneously (thus) leading to the annulment of silences (whereby) it problematises the relation in the perception (replacement) Sound absentiaa = sounding (’ grandioso’) (mute) protuberance of the tongue (still,) capturing reflections as much as it emerges from the reference frame of the old indentations in the (frozen) cove coast in perception ’ appears on the deserted coast in the middle is a statue, in the distance the sea’ walk before and behind and from one side (the theme emerged as an incomplete recording) (without an end) ’ attired in light lovat ’scottish tweed’ rain ( ’ avec étonnement’) enjoys his manifestation replicates itself entrusted to the harps entrusted to the trombones ’ I must have left the umbrella in the lift ’ makes all the surrounding murmurs stand firmer (if concentrated) can break it down into four tonics (dissonant occasionally vexatious) (if not) a single solitary tonic makes atonality makes a harmonic structure tautophonic performance of vibration (the piano keys are entangled) in the modulations of pitches he tautophonically performs the downpour ’ the repetition of what we cannot recollect, that is irrevocably lost, that is, like a haunting specter of the disintegration of a subject’ the downpour performs it with tautophonic rain ’ re–citing citing that precedes a series of acts, which are implicitly contained within the given act, by which every present act is deprived of its present’ the rain|||||||||||||||||||||||||||||||||||drips||||||||||||||||down|||||||||||| ||||||||||||the rain|||||||||||||||||||||||||the rain|||||||||||||||||||||||drips ||||||||||the rain |||||||||||||||||||||||drips|||||||||||||||||||down|||||||||| |||the rain|||||||||||||||the rain||||||||drips|||||down|||||||||||||||||| |||||||||||||||||||||||||||the rain|||||drips|||down||||||||||the rain|||| the rain|||||||||||| drips |down||||||||||||||the rain|||||||||||||||||||| (’ Chance proportion in my picture of the world pelts down with the rain’) the suite of miniature character pieces of tonal sketches from the incidental music prints their remote destination point (every shelved score conceals an obstacle because half–construed incompletable conceals an obstacle) ’ My umbrella must be concerned that it has lost me ’ by being performed it directs to in relation to the sound it introduces readings of music as Text ( ’ I f o r b i d a n y o n e t o r e a d t h e t e x t a l o u d d u r i n g t h e m u s i c a l p e r f o r m a n c e ’ ) that do not necessarily impart the sound content that talk about their semantic constructs about uninhabited places non–places outside the music outside the sound interwoeven (creating sacral pieces) within the sound resonating chronometers inserts into the body of (the piano) at a pace of (the piano) in the foyer piano fortex in two lines adapted to her peculiarities s t e p s a r e c h r o n o m e t e r s ’ allusions to the palace of Knossos … the stage of the legend of A of ’ at the first meeting the entering tones set so that (the colours are filled in inside contours and vice versa) (’Sur la langue’) placed in the unconscious long time ago and the Music continues (’ de manière à obtenir un creux’) (all is It ) (modal cadences) repeatedrepeated (it is All ) quietly imperceptibly ’ That night it rained again deep there where the signs had recently been abandoned’ ’ An entire torrent of signs falls and by morning the sun shines He stays clear of such places’ (’ en y regardant àdeux fois’) absent is the resound of orgasmic downpours watering the Ocean watering the downpours not presaging how great the insertion is into))) minimal sounscapes in ’ Hidden landscapes’ as an echo of his steps liberated from larger interval skips told in the perpetuity of the walkway / walk ’ 113 walking miles between one shower of rain and the next ’ which reflects into infinity not presaging how great the insertion is into))) behind ( ) the isolated phrases which repeated themselves ’ as a wallpaper pattern’ the background as an atmosphere hypnotically behind his–her pieces epiphanic stimmung emerged from her–his treatment of the piano e p i p h a n i c s c i n t i l l a t i o n s estuary endings calmly until inexistence in late–baroque splendour again and again over one single book of note sketches in invisible ink moving through the microtonal patterns moves through coordinates within the narrow arctic circle moves through Pièces froides through the sound absentiaa of great glaciers light illuminates the contours ’ statuary negative’ dedicated to the (designated) body which is absent the recursive sounding of the House space ))) ’ the furniture was singing, each piece had its motif, its aria which was imbedded into the overall consonance’ repearepeated repetitions of the beginning estuary endings end in perception in perception Invisible hypnotizing tonnneeeee a dominant (yet not detuned)
Marko Paunović was born in 1984 in Smederevska Palanka, Yugoslavia. He has conducted several video and audio-visual works. Deals with the synthesis of electro-acoustic, drone and ambience. Performs own poetic-theoretical texts individually or with the project ANDAGAINANDAGAIN. Sporadically published. Currently working on the shaping of his first book.