(Slow walking (in)to))) Pièces froides
by Marko Paunović

                                       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
                                 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
                                     ’ 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
      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’
      (’ 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
                         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
                                                         ’ 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
                         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
                             (creating sacral pieces) within the sound
      resonating chronometers
                                                     inserts into the body of
                                                                                   (the piano)
                                                                                           at a
      pace of                                                                (the piano)
                                                                                   in the foyer
                 fortex                                                                 in two
                                                     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)))
      (   ) 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)
Packingtown Review – Vol.6, Winter 2014/2015

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.

  1. Dragana Jurisic
    YU: The Lost Countryart