Frédéric Acquaviva; K requiem



FRÉDÉRIC ACQUAVIVA (1967)K REQUIEM (1993 / 1999)
Participants:
F. J. Ossang [text excerpts from
Alcôve Clinique] – Thierry Madiot [bass trombone] – Pierre Gillet [trumpet] – Philippe Le Gris [tuba] – Philippe Dibetta [bass saxophone & tenor saxophone] – Jean-Claude Galoppin [bugle] – Artus [barrel organ] – F. J. Ossang, Dobra Sankowicsz, Piotr Zygan, Gregorz Zygan [voice] – Bernard Mertz, Vincent Labidos, Stéphane Sabourdy [Institut National des Jeunes Aveugles] – Frédéric Acquaviva [organ, electric guitar, electric bass, percussion, mixdown]
Al Dante FA-AD05. Duration: 67:34 (99 tracks!)

http://studio.forum.free.fr/Studio/compositeurs/Acquaviva/acqua.html

http://margaux.ipt.univ-paris8.fr/~arsonora/membres/acquaviv.html

http://www.cdmc.asso.fr/html/compositeurs/bio/a_c/acquaviva.htm

http://www.homme-moderne.org/images/films/fjossang/





Frédéric Acquaviva
(Photo: Florence Gonot-Yterce)

The other day, in the afternoon, I was listening to K requiem while lying down on my bed, tired after doing overtime at the airport where I sometimes work. I was drifting in and out of sleep, my conscience and perception sliding gradually into the world of Acquaviva’s soundweb, and out of it, and back deeper into it… and it mixed with my visions from having just re-read Douglas Adam’s Hitchhiker’s Guide to the Galaxy. Perhaps this is the ultimate way to experience this piece, with a conscience letting lose of present so-called reality, absorbing the textsound composition like breathing air, soaring, drifting, hallucinating… It was fantastic, and I enjoyed every timeless duration of the experience.

A couple of the most rewarding aspects of working at
Sonoloco is the element of surprise at unexpected works of art and the opportunities to get to know the extraordinary people whose art surprises me, or, for that matter, disturbs or worries me! It’s a daily adventure, and the nicest thing is that I get to hear things that I had absolutely no idea about. It is true that Sonoloco also writes about well-known composers like John Cage, Morton Feldman, Stockhausen and Terry Riley, to name but a few – but for me personally the greatest joy is to study CDs by for me completely unknown composers and musicians, and to help spread the word about them, if they pass my personal and very subjective quality filter! One in a while these kind of surprising and to me unknown CDs come along, and now I received one from Frédéric Acquaviva. A quick spin on the Internet proves that he is not unknown at all, but rather well-known, it seems, especially in France, but to me his art is new, a first-time encounter which stirs me up and gets me writing!

The label that publishes
K requiem is Al Dante, which I know from several books with CDs by French banker and sound poet Bernard Heidsieck. That means that Al Dante is a niche label issuing interesting fringe art, not to make money, primarily, but because of an urge to spread exclusive art for the sake of… art! I think K requiem fits in well into this concept!

The front cover of the CD is very much in time with the present, like the Intifadan of Palestine, with this paving stone revolutionary lashing out at his Israeli oppressor och occupant.
This serves to create a certain mood, a certain artistic venomousness, virulence, walking the edge of contemporeana, politically, philosophically.

French-speaking people have an advantage over us ignorant non-French listeners when traveling though
K requiem, as I believe the decomposition and reconstruction of F. J. Ossang’s text that Acquaviva has achieved is a hilarious experience on the morphemial level. On the other hand, perhaps the non-French have easier access to certain melodic, compositional, bulk- and chunk aspects of the progressing work, as we have no words, really, to screen off the bare transformations of sound. Anyhow, to me the best sound poetry is the kind that really succeeds in breaking down language into pre-morpheme sounds of the oral cavity, returning us to a pre-conscience kind of un-language, in a world of intuitive tendencies where our nerve-ends are, as Allen Ginsberg says, “connected to the starry dynamo in the machinery of night”… Perhaps Frédéric Acquaviva can make this connection happen in K requiem!?

In any case, having the text in front of you when listening – at least one time – can be a rewarding occupation, giving you an insight into the construction of the shifting fields of vision, the sounding levels shooting in and out below and below each other, in a layer of words, sentences and instrumental sounds.

Acquaviva has determined that this work is not a text set to music, but music AND text, or text AND music, happening simultaneously.

While listening I realize that Acquaviva, whether he would agree or not, is a link in a tradition, which in many ways truly is French. France has some of the most successful sound poets, and in the French contemporeana there is to be found just the intellectual delight of the vulnerable situation, the act of walking the razor’s edge, mentally or physically or artistically, like here in a lingual challenge with music, or a musical challenge with language. I can’t really se this happening any other place than in France, but I don’t know if this has any significance outside of, or beyond that observation. Perhaps it’s just because the French are better livers of lives than most people, because I know that Swedes, for example, are the best diers of deaths that there are, conversing everyday with each other about how the weather is, or how the weather will be, without being meteorologists or farmers…
There is a peculiar freedom of thought in French contemporary art, and Frédéric Acquaviva’s
K requiem is no exception. He is an intermediary of this sense of freedom and lingual/musical ingenuity in this work.


Saint Ulrike of Meinhof in 1969
(Photo: Erika Sulzer-Kleinemeier)

Perhaps this kind of art is the offspring of the beauteous desperation of contemporary icons like Saint Ulrike of Meinhof and those who raise their consciousness and spiritual force against the dangerous and immature state of unconscious mass destruction, the U.S.A., the Great Babylon of our days, in spiritual defense of defenseless Palestinians and Iraqis, remembering the millions who where slaughtered for no reason in Vietnam by our fine Midwest boys…

At some point some way into the work, after the initial lingual introduction, a massive sound, bursting with the grainy chords of an organ or maybe many, many organs, well forth like a giant swell of an interstellar force field, encompassing an immeasurable expanse, having you bend and sway under the pressure. It’s big, it’s mighty, it’s enormous, like getting lost in a thunderstorm in Texas in May… It’s like a concert hall filled with vibrating Ligeti organs;
Volumina times 100!

Later the wind instruments, individually, paint a pointillist sound painting in a spatial manner, one here, one there, like “
flies buzzing around your eyes”, as Bob Dylan puts it in Idiot Wind. At this section K requiem is a modern jazz/chamber piece worthy of a Luciano Berio (Eindrücke). There is also an unmistakable Berlin feel here; Kreuzberg!

A monologue kicks in, counterpointed with a second layer of a spatially more distantly placed voice, as the piano tuner tunes, having me recall my own experiences recording Stockhausen’s piano tuner Franz-Josef Bartmann at the Stockhausen Courses in Kürten last August, with Stockhausen’s voice in the background. I love those rare glimpses, those windows in time, now entrusted to DAT tapes and CDRs! Some of the speech techniques – or speech attitudes! - here, with the hawking sounds, remind me even of Jaap Blonk and his interpretations of Georges Aperghis
Recitation For Solo Voice no.8, as I recorded it in 1998 at Fylkingen, Stockholm.

As the wind instruments again kick in, they do so in a freeform jazz setting, the main monologue extending in a simultaneous upsurge of speech, the jazzy outbursts rising all around the somber voice of the speaker like seaweed…

The peculiar, recurring, repetitious utterances of the word “stop” and the sparse hawking, as well as a licking or saliva swallowing sound again returns me to the world of sound poetry, much in the vein of Bernard Heidsieck, one of my banking heroes!

The wonderfully Cageian piano tuning spreads brittle silver and gold through the grayish elasticity of the spoken sections.
The Latin – Spanish – Portuguese sounding portions appear, adding an extra layer of strangeness to the recording. Even some lingually distorted English-sounding passages whirl by in the storm of morphemes! In the interview with Acquaviva that follows below he talks a little about these strange ingredients.

Some heavily pumping brass sections, spiraling in a never-ending upwards motion in full-fledged mania, ascend you to unprecedented heights, leaving you way up there on a silver lining with a Stockhausenesque
Licht-trumpet, as I’ve only heard it played by Markus Stockhausen or William Forman! Impressive!

A female voice with a crude barrel organ takes me to Holland and thoughts of Gilius van Bergeijk, who also used this street instrument for some of his most famous compositions, some of which have been issued lately by
X-OR in The Netherlands. The effect is almost medieval in its Central European fragrance; smelly lanes and lively town squares…

There is a lineage all the way from Rabelais and his farting heroes straight into this grand Acquaviva whirlwind of European artifacts. Inside this whirling motion of European cultural strata I sense sub-motions of eroticism, death and religious mysticism. Maybe that is inevitable, like the soil under our feet, the clay in the earth… and this is just something I smell in here; not something that is expressed.

When, on track 61 and 62, short-wave sounds are composed into a musical setting that is both beautiful and adventurous, but which shortly, on track 63, appear in a wild jazz mimicry, I get very impressed and utterly happy! This is indeed a surprising event – and I hold those pieces very dear which have surprised me. Stockhausen has almost always surprised me, and now Frédéric Acquaviva manages that too, with tracks 61, 62, 63, 64 and 65 of
K requiem! Sublime!

There is much more to be said, if every track is to be scrutinized, but I’ll quit writing about this amazing piece while listening to track 93, 94, 95 and 96, which comes across in a relentless mix of car horns panning, a brass section going wild and voices talking in a confusing blabbermouth of a brainstorm…



Frédéric Acquaviva has elaborated extensively on the appearance of K requiem in an interview conducted by René Farabet at Radio France. Below you may read the interview in extenso. It can be found in an abridged version in French in the CD booklet. Due to a rather haphazard translation from the French, made by Acquaviva himself (I think), the language may at times seem a little complicated or off, but I have corrected the most serious devaitions before publishing the interview, but also left enough of the French peculiarities to retain the original atmosphere of the text (After the interview you will find the F. J. Ossang text that Acquaviva has used for K requiem, in its original French appearance):


About K requiem
based on an interview with Frédéric Acquaviva by René Farabet
at Radio France 12th March 1999


Frédéric Acquaviva
(Photo: Florence Gonot-Yterce)



1. I would like to know, in fact, what is the point of departure ?

The very beginning was in 1991, a conversation with a friend painter (Nicolas Kuligowski); I had that idea to propose him a kind of requiem that would be composed during his living, starting with the fact that it would be something particular, developed from the first letter of his name, « K ». It was just at first an idea of instrumentation which has nearly remaind the same after some 8 years, but in fact this is the only thing that is left from the main idea because, step by step, I have tried to find an access door to what I wanted to do and so, with that requiem idea, the first thing I thought was at least to bring some thinking on what could be done with that nowadays and also about the place that is left to the notion of « sacred » in this world.
I wanted to work with the intimate, out of any singing , specially polyphonic singing related to that kind of work, starting with the very definition of requiem which signifies rest, quiet, and so to try to make some sober work. That, has been developed further after the initial choice of the instruments that was at first quite enormous because of such instruments that I could play, as electric guitar, or could approch in an instinctive way like her little brother, the electric bass or differently, some unknown ones like organ or even percussions.
But then, I wanted to try also to use professional musicians because until now, I had only worked, apart from painful experiences, with sounds I could produce or reap, because of that acousmatic work I am doing.
Concerning the work with instrumentists, at first I thought i could ask some pupils of a music school. But then, it appeared to me more challenging to meet some virtuosos (from Ensemble Ars Nova, for instance), to confrontate them (and myself) to a demultiplied writing, facing lots of different approches and processes, like, for exemple, the use of natural models. I was, in that long adventure, in composing-résidence at Dieppe (La Grande Fabrique), not wanting to take a phonographic (touristic) point of view of the seagulls for exemple, but also credit card and machine when it wanted (or not) to give me what I asked for.
From all these sounds, cars klaxons or even speed relations of people’s walking; I have tried to work some writings I gave later on the form of classical notation score. The players should be recorded separatly for me to react freely on that material but also because I wanted to use the personal tempo of each player. For me, it was a configuration from one person to another and that is for this reason that the media itself - the radio broadcasting - interests me because it replays that kind of relationship.
I did not want to have a huge mass of instrumentalists in front of me but, instead to try to fix the personal tempo of each musician. There were some things done with absolute precise tempos, complex writings; some other I had to re-synchronize with a patient work with digital tools, or, on the contrary, try to un-synchronize; or accept this un-synchronization or even to un-synchronize those un-synchronizations so that they could take part with the general writing of the piece that was not only the soloist’s writing but also dealt with voices. I wanted a text different from the Latin one, to enlarge a little bit the problematics of writing a requiem, trying to find a proper text that could have an echo of the integration of the holy in contemporary life.
So, I chose in 1993 a text from the underground cineast-poet FJ Ossang. Having lived more than 6 years with this text, I had finished to try to explode it completly to integrate it in the final project, knowing that I did not want to make something that would be narrative, meaning that I did not want the music to become a decor, which is why the voices had to be integrated, musically writing.

2. The text and the music, the instrumentation go parallel, but do they speak to each other ?

I wanted to start from the idea of a super-autonomy of each element, trying to consider with the same respect the sound of a page of paper, the word of the writer (or other), the single note, at the 1/4th of tone I could write. Each thing has really been worked by itself, like an autonom world, a little planet moving at its own speed. Then I worked on a superior writing that would be the reunion of all those elements, where the things would not be heard in a pleonastic way. It wasn’t because there was all this speech on cecity that one should come into processing of help of the understanding, like subtitles. I really wanted that each thing would be perceived as an by itself, but at the same time, make happening some kind of split correlation that would gear down the writing, which is why I tried to extend also this text to a speech about the music itself, which would normally deter me from presenting this piece, because it is a piece where the subject is the music, the music that would speak (about) itself.
At the same time, I thought of introducing a parasitic text and therefore a certain degree of reality, to start off again on the text and also particulary the electroacoustic listening, in this world obsessed with Image. I had chosen this text also thinking about my friend the painter because of such subjects as blindness, enucleation.
I had thought to introduce, but not in an unwarranted way, an element that would disturb, that would be this sound recording, almost like a documentary I would have done about the world of the blind people. That which seemed to me the relation between the blind and music was this class of piano tuning, that also made me talk about transmission (from teacher to pupil), but also about the concept of temperament, knowing that I put myself outside both notions, working on microtonality and being an autodidact. I wanted to make people think about this notion of tuning, like for instance the tuning of mankind and cosmos.

3. I can see that we haven’t talk about the text, in fact. This text, I know that you have destroyed it in a way, but, what does it talk about ?

I wanted to make this text appear with lots of presence, but certainly not in a clear way, cultural, pornographic.
I think that if one does a radiophonic work, or even more, a musical work, one can’t only listen to the text in its primary form (in this case, the book is what it is made for). So, I have made an edit of 5 pages out of the 68 of this text « Alcôve Clinique », that Ossang wrote in 1981. But I was going to say that the story by itself has no importance, in my point of view. It is used to question the listener. The purpose of it is of course of a formal order, the goal being this work on radiophonic art (hörspiel), on music, with all the semantic relations between all the elements. The story of the text, the (pre)text, one can follow without me explaining it; we can somehow point to the theme of choosing its own death, all this being a part of the question of the requiem. At a higher level, it could be perceived as a requiem of requiem, meaning a certain death, end, of a certain music. In fact, one has to develop all kinds of possibilities, including death.

4. Death of the look ?

For instance. About that, I can tell that, during the recording of the musicians : the tenor (and bass) saxophonist Philippe Dibétta was arriving from an eye operation and had an enormous bandage on one of his eyes whereas for the tuba player Philippe Legris, it was his first performance after the extraction of his 4 wisdom teeth. (I had personaly left 2 of mine at my dentist a little time before). I had besides tried to record this seance of teeth extraction without telling my dentist whom I made believe that my ear-microphones were headphones to listen to music to avoid to hear the sound of the operation. But he could not act like this, he does not act like this usually and so, he played me some Mozart, to calm me (that has certainly increased my pain, being not very sensitive to the purity of this infant prodigy). I somehow keep this recording to anyone who would be interested in listening my shouts on Mozart, that could be translated in an appeal of writing another requiem, the one for a certain kind of outcast.
It is anyway interesting to notice, concerning the recording of the horns, that maybe they would not have dared playing in those states on a stage, whereas here it really fit into the sound, which is very good because it’s in that way that we can obatin different sound results.
Returning to the notion of narrativity, I would say that it is important, at a certain degree, because eveything is related at different levels with all these heteroclit elements I talked about; but what was important to me was more the fact of working with a living writer (I have before worked with famous French writer Pierre Guyotat, but in a different way, knowing that I am not searching to reproduce the same process of compositional writing). I wanted to go further concerning the integration and disintegration of the meaning of the text and the music. What interested me above all was not to use a comedian that would have reproduced, replayed a text, which is why I wanted to benefit the author’s voice to make appear something that would be a kind of metamusic, metawriting, related to the creation at the moment it is done or redone when Ossang corrected his text while reading it (turning it into present, as if the change of media would induce a change of time). I have, for myself, acted the same towards my instrumental writing; because these things that were kept about the process of recording and about the music by itself was for me a way to enlarge the musical speech, which as purely musical does not interest me so much nowadays. I am not criticizing masterpieces from the past, especially in the fields of requiem, for instance, but simply, I wanted to realize a work that would integrate an extend sound-space but without the easy way according to post-composition with noises added (collages...). However. I wanted those things to remain quite pure, but also to work on the concept of non-interpretation, contrary to what we call musical theater, where in general the instrumentalists have a score of acts to perform, whereas they are not usually very interesting comedians although they pretend to be. This always sounds out of tune to me, or worse, very schoolish.
In K requiem, what was happening was said at the present moment and could not be replayed, which makes evident that this piece was designed for acousmatic, radiophonic or of course CD, although I work with (or against) acoustic instruments (and I don’t see why I would not use them, it is not because I work on support that I must use concrete or electronic sounds).

5. Try to explain a little bit; is this a critical approach that consists of keeping the repetition of the reading, different takes, different versions of music, well let’s say the repetition aspect, for the music as for the text ?

What I thought was primordial to this notion of requiem was to try to keep these things that were significant of our passage on earth, all those mistakes we can make and, in that way, today with digital machinery one can make saying anything to anyone, in the most perfect way. I have tried to work this aesthetic of repetition, but a repetition that would not be mechanical, different from the one of the American School which sounds completly dead to me; but a repetition that would never be exactly the same. For instance, Ossang says this sentence : :« Il à même la peau satinée d’elle pélia étirée grande ouverte aux secrets qu’il déflore tandis que l’orbe de la cellule clinique disparaît en variant ses teintes de grande blanche jusqu’à la toute multiplicité de l’enfin mourir anéanti » in a way that is perfect to my ears. It is the only time when a sentence is duplicated exactly, simply to show that I could have done that during 67 minutes and 36 seconds, but that was of course completly opposite of my thinking. Besides, at that precise moment, we can hear the same 2 notes from a electric guitar, being looped 5 times : the guitar at first slightly before the voice, then slightly after, then exactly synchronized and then in other different delays while the 5 solists horns are by themselves in 5 different spheres, like as many small planets, in their autonomous worlds. Another thing I wanted to work on was the notion of waste, but not anyone’s (like in collage which appears to me quite vain being rapidly anonymous, and more over a new norm, like reverse sounds which now can be heard as the new right side). I wanted also to try to work the incompletion, but in a very precise way. Because I had worked such a long time, I also wanted this kind of living aspect which makes the whole thing appear not completly perfect to remain, flat, perfectly close. For me, a succeeding piece is a piece that grazes permanently the disaster, that takes risks. I don’t like tepid pieces.

6. Is it also a way to bring back to the sound substance that one models, that takes time to appear ?

Indeed, it is not easy for me to give a score to instrumentalists who could make the music theirs, absolutly needing a kind of return.
However, for once, I have not worked in a closed system, I have tried to open my world to the outside worlds, including even aleatory proceedings, but reworked afterwards to keep what was interesting, putting away all the waste that is related to that kind of work of improvisation/semi-improvisation. For me, touching, modeling the (sound) substance is inherent to the acousmatic approach, that is moreover the interest, the revolution of this kind of sound production, that permits one to go infinitly far in the work, contrary to the hazards of a floating interpretation. I wanted to play myself the part of baroque organ, without knowing how to play this instrument, recording from the first note played, without balance, a bit like a blind. Yet, there was a light problem and we finished recording in the dark (maybe an hommage to Landini, this blind organist of the Ars Nova), myself on organ, the sound engieneer but also the choregraph Maria Faustino catching the sound movements while dancing in the church with portable microphones. I wanted, (because all this world being done only with crossing of meaning between different sound textures), to put in relation the organ with, for instance the electric guitar, towards the process of saturation, overdrive. I wanted to work not with instruments I had already used, but rather phenomenons like saturation in organ... I wanted it not to sound too much like a normal organ, so I put it in a guitar preamp, but I also put it in relation to a barrel organ (which in French is named barbarism organ). Someone made the barrel organ cardboard according to my score and I recorded it at the Museum of the Circus Arts (all the instruments being recorded in different spaces). Someone asked, me why do you bother to ask for making a cardboard, you could use the MIDI instruments that reproduce so well that timber; but in fact, those instruments are lure to me, the exact equivalent of frozen food compared to proper fresh food, but moreover I made the sound takes from the exact sound of the barrel organ handle, next to its mechanics and not as usual, at a certain distance to ennoble this instrument. On the contrary, I deeply wanted it to sound like a barrel organ and especially not becoming the baroque organ that I already used.
This brings a commentary on the choice of sound engienneers, always identical, which is the one of catching the so-called reality, at least an image of reality that they perceive as spectators while my point of view is related to the creator’s one, that does not resolve on the spectacular and superficial, even if the result is adapted to the diffusion, precisely for the critical approach that it constitutes and that we should profess in those places which deal with new technologies. This sound take has been made from the cardboard and it happens that it has been blocked into the mechanism during one of the recordings. That is of course the passage I kept. Then we took the cardboard by reverse, reversing the intevals, or in introducing it from the last page (with reverse intervals again or not). The piece of barrel organ is heard in extenso in the middle of the piece and then reintroduced like many other sounds (and some new ones as well) in the final phase of the requiem. There, we can hear in super-counterpoint the 4 parts of barrel organ among other sounds. I made a point of adding very little noises afterwards, because I wanted things to be very inside. One of the sources of external sounds is taken from a sound take I made from the last big French political show, simulacrum of happiness and a true starting point of decomposition, destruction, reminding me, to my point of view, of that pseudo-nether world I wanted to convoke at this point of the piece. I have also hacked one evening, on France Cuture’s radio the tuning of the transmitter of this station (* that co-produced k requiem and will broadcast it). I have reworked those sounds, like an appeal for them to leave the earth ground and explore the universe, where they should be.

7. If you talked a bit about this notion of saturation, is there a search for the extreme, like for instance with the higher frequencies ?

What I wanted to do and that was important to me was to reflect (* which is said also in French as « think ») this violence, but not only this particular point. What I see ordinarily in the musical field or any work of art in fact, is this aspect purely sensitively, very well discribed (and critizised) by Marcel Duchamp in his will to leave an eye-painting (peinture rétinienne). This is exactly why I like to introduce such voice or text that would lighten differently the internal musical speech, would go on to the contrary side of it, go beyond, to be outside a listening that would only be passive. There is a work that is indeed of conceptual order on this sort of meta-music, but I also wanted to develop the sensorial aspect and therefore to use extreme frequencies, saturations... But this can also be the opposite, the voice acting in the sensorial level while the music would not be emotionally caught.
I can say that I feel more and more the necessity of confronting the music with something that would question it, knowing that we are no longer in the time of splendids franco-deutsch polyphonies, and also not in the neo-this or neo-that which will, unfortunatly grow in the future. We now have to try to enlarge truly the music, not with flat ones or extreme ones (like ones only for the body). I must say that I consider essential the fusion of this double speech, to talk to the body and the spirit, considering the whole Being, which seems to me the least we can do.
This saturation could also be what we can feel when we think of all that has been produced, for instance musically, since the beginning of time. We have to try to open new perspectives while having the conscience of the distance that has been run by music. Yet, the sensation of suffocation, that is related to the will of investing the whole possible space, I find it in the works I love : Traité de Bave et d’Eternité by Isidore Isou, Salo by Pasolini, l’Authentique Procès de Carl Emmanuel Jung by Marcel Hanoun; but also Guyotat, Wölfli , or even on certains aspects the polytextual motets by Adam de La Halle, certain songs by Janequin, the late Gesualdo...

8. That idea of crushing.... Can we talk about crushing, what brings us back to the destruction of all sounds, all types of sounds... Crushing, is that a term that suits you ?

Well, i think it is the least we can do, I imagine, if we really want to be listening to the world and its evolution, but meanwhile we have to order this crushing, that’s what I tried to do and that is why each note, each 1/4 of tone, each crochet-rest (* in French also synonymous with sigh) is to me at its right place, even untill the 204 different parts of horns used near the end of the piece. This reordered crushing is in fact the essence of creation and therefore we are no longer, to use Isidore Isou’s term in a amplic phase of creation, that would be the one from a creation of the past, for narration, anecdots... The thinking appears to me nowadays completly split, we can see it with numeric networks. We have to reflect that at all levels, also in the meeting of music with other supports. Besides, the absorption of all those musics lead to the crushing because we have to assimilate, masticate, digest all these musical echos but in something else.

9. You also have chosen as instrumental voices, non conventional instruments, fore there is the voice of Ossang himself, the voice of the 2 Polish children and the one from an old lady ?

The voice of that old lady, it was not necessarily the idea of crushing but rather of alzeimerization of the text. When I recorded her voice, 4 years ago, she was 97. I used this out of time space, out of sex; it was an evident thinking on the notion of life as it is so interesting to listen to, amongs extracts of old recorded voices that we can have from the end of last century. But here, the timbre is not located in time but we can feel that her voice has passed through different stages, she’s someone that has met moreover some difficulties around the middle of the century that we can imagine, in her own flesh. That seemed to me something that would be outside the playing, acting of a text, my goal was not to illustrate, not to replay something (like we should not do remakes of the pieces from the past, but always find our way back the essence of life, creation). I also used, a bit by chance of my meetings, the voice of two children (2 brothers), like an echo of a voice that could be the same, because they had slightly the same age; I have therefore worked on the speed of the speech,

10. On accents, as well...

The accent, but also a certain diction of the French language that would be further from the language that is taught in acting class.
I have asked those children to read this text without understanding it and to give it to me in a barbarous way, which, somehow brings us back to a certain abstraction, universality of language. Maybe we can think that when we will listen to this later, if we do, we will ask ourselves what was this language, in the same way that we can already ask ourselves today, but in an even more blurred way because it is evident that French will not be spoken like nowadays. In a certain and funny way (compared to the notion of requiem), it can appear like an echo of Latin, I was also told Portugese. It is very interesting to me to hear the people’s saying...

11. What about Ossang himself ?

There was also this fact that I wanted to work on a text in French, but not to work with collage, especially multilanguaged collages. After having started this kind of work with Pierre Guyotat, as I told before, I wanted to work on the specifics of the language, in that anti-universality which makes somehow this music meaningful, even if I am deprived of listening places related to a kind of sound-rest, a purely musical and sensorial speech. In fact I only wanted to work on what I knew exactly to try to dig deeper and that is why it appeared to me necessary not to mix languages. And I can see that the work of sound is often related to the notion of depth; for instance I establish that we send once more satellites to Mars, but it’s only 30 years after the first one, at the time when we no longer are obsessed with superficial viewing, that we dig deep in the ground and plug a microphone at the same time. It is always the same story, the eye being considered first whereas it is often related to superficie, the superficial. I deeply wanted to dig...
Concerning the choice of Ossang, I wanted to make an intimate work with a writer, the several processes I used would have been less efficient with actors reading a writer; the disturbing of the text could only operate at this cost. It seamed to me essential to rework the text to integrate it in the musical approch. Maybe I could not have used poetry, I had therefore already made a choice in choosing only the precise, clinical words and sentences but I wished and needed this poetic distance to make come true this dialectic I talked about betwen the text and music, so that one would not be in only one single way (*sens unique, in French).
This critical approach and listening through the process of (des)integrating the voice and text had been done with the music itself, I mean I had to go further, not to write only a typical classical score and in a way destroying, splitting my own writing. I tried to work for instance outside all isorhythmics, each personn should stay autonomous. We can hear a lot of polyrhythmics differently written but very few moments together, even attacks of chords, thinking that we can be together in a superior rhythm, while keeping his specifics (like someone who does not know -yet- someone else). It could be interpretated like a thinking work on the planets, individuals and I certainly did not want to make something where there would be this notion of collective or submission to hierachy, which leads us once more to the importance of individual listening (radio, CD, voluntary approaches).

12. And, at the end of this work, do you still accept the title, K Requiem ?

I accept it, in that sense that for me it is important like a reflection on the notion of requiem or holy through, for instance, all those questions that stay without answers, instrumentalists questions that could be the ones we could ask to something broader that would leave us always unanswered. I add that what we call music today, for me, can only appear around this notion of empty space, which is not a negative notion to me because it deals with the essential. But at the same time, concerning the requiem, I wanted it to be a special, particular one, and so it is a « k » one (*which means case in French), which can be heard afterwards as a refernce of lettrism (Double Quatuor en K by Gabriel Pomerand); to the numbered symbolic of this letter K, which would be the 11th letter of alphabet, a refernce to my astrological sign, aquarius, but also the 11th episode from Genesis, which is the one of Babel, which would become a work on a Babel split with French languages; even maybe the ka of the stellar dictionary of Vélimir Khlebnikov, which is the closing up of 2 points until a still limit, until the stopping of various points to one that stays still. We can definitely also see a reference to Kur, the physical no man’s land of the Sumer world, a space between Earth and primordial Sea. This is what K requiem became.


Frédéric Acquaviva



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K requiem

F. J. Ossang

Dans la mort. HM, hm. Dans la m... HM,
DANS LA MORT. VOUS ETES DANS LA MORT. DANS LES STEPPES REGARDS.
LES YEUX DE LA VIE, LES YEUX DE LA MORT, ET LA STEPPE. HERBES RASES, EPINEUSES, COUPANTES, INTERMINABLEMENT
RAIDIES SUR LEUR COUCHE D'INFINITUDE. LA FOUILLE DU CACHOT DE LUEURS S' AMORCE.
C1, 22, première
HERBES RASES, EPINEUSES, COUPANTES, INTERMINABLEMENT RAIDIES SUR LEUR COUCHE D'INFINITUDE.
Euh, de toutes façons, j’vais reprendre, plus crescendo
Herbes rases, épineuses, coupantes, interminablement raidies sur leur couche d'infinitude.
C1, 22, deuxième
La matinee aiguise les tumeurs de la fatigue sumuree
La fat... Chut La matinée aiguise... La matinée aiguise...
LA MATINEE AIGUISE LES TUMEURS DE LA FATIGUE SUTUREE PAR LE DEMI-SOMMEIL ET L'INSOMNIE.
Etreintes déliées, morcelées, comme les innombrables fa...
Etreintes déliées, morcelées, comme les innombrables...
C1, 36, première
Etreintes déliées, morcelées, comme les inn...
ETREINTES DELIEES, MORCELEES, COMME LES INNOMBRABLES FALAISES BORDANT LE PRECIPICE QUI SEPARE DEUX CORPS.
FACE AU MIROIR DE LA SALLE D'EAU, LES YEUX QU'IL EUT PU TRANSPERCER.
LES HAUTES LASSITUDES TOMBANT DE CERNES. CARESSANT L'EMAIL, IL IMAGINE LE LAC QUE TEL RECIPIENT EUT PU
RECUEILLIR : L'EAU DE SES (PROPRE) YEUX TRANSPERCES. LA RUPTURE ESSENTIELLE :
Ah non, attends
L'ENUCLEATION. S'ARRACHER LE REGARD.
Au Nord. Un scintillement de flammes blanches.
Au Nord. L'atomisation, le poudroiement des Eléments au centre des...
AU NORD. UN SCINTILLEMENT DE FLAMMES BLANCHES.
La fin, je ne l’aurais pas plus forte, ça c’est...
AU NORD. L'ATOMISATION, LE POUDROIEMENT DES ELEMENTS AU CENTRE DES PARTICULES LUMINEUSES.
Y a des suraigus... C1, 48, première
AU NORD...
Une tension chauffée à blanc, pour résister à la somnolence et au malaise.
Une tension chauffée à blanc, pour résister à la ten...
C1, 48, deuxième
Une tension chauffée à blanc, pour résister à la somnolence et au malaise.
La circulation du sang au niveau des tempes.
C1, 48, troisième
Une tens...Une tension chauffée à blanc, pour résister à la... Une tension... Une... Une tension...
C1, 51, première
Une tension chauffée à blanc, pour résister à la somnolence et au...
UNE TENSION CHAUFFEE A BLANC, POUR RESISTER A LA SOMNOLENCE ET AU MALAISE.
LA CIRCULATION DU SANG AU NIVEAU DES TEMPES.
51, C1, 51, deuxième
L'ORGANISME TOUT EN CRISPATION DEFENSE.
IL PRESSENT LA FIN D'UN SILENCE.
5 euh non, C1, 51, bon quatrième
Il pressent la fin d'un silence.
Il pressent la fin d'un silence.
C1,41,51, cinquième
Il pressent la fin d'un silence.
C1,53, première
Il pressent la fin d'un silence.
Il pressent la fin d'un silence.


Briser. Stop. Je reprends. Les steppes. Je reprends, hein. Partie 2, deuxième prise.. Les steppes
LES STEPPES. IL ENJAMBE LE REBORD DU BASSIN. LES EAUX GLACEES PETRIFIENT SA RESOLUTION,
Stop. Je reprends ou pas ? Il enjambe le reb... Stop.blessure d'essai I... Le gel devient plus vif... Blessé d’essure.
BLESSURE D'ESSAI I... LE GEL DEVIENT PLUS VIF.
Blessure d'essai I...Fon... FONCÉ... Caressant l'email, il imagine le lac...Caressant l'email, il imagine le lac que
CARESSANT L'EMAIL, IL IMAGINE LE LAC QUE TEL RECIP... Stop.
Bon, c’est pas grave, on va quand même continuer d’avancer. Tu te mets au sol. Et puis toisième du si.
T’as laissé ton si un peu haut aussi, mais si tu veux avoir une quarte...une tierce sol-si qui batte comme
fa-ré, ça implique d’avoir un sol un peu haut également, et donc on a une quinte petite. Tu y es presque,
tu y es presque, alors redescends... Ah, c’est parfait. Oui. Et sol-do ? Ca va. Et fa-do, la quinte, pour voir?
Ca sonne à peu près bien, on peut pas se plaindre, c’est quand même bien parti. Dans l’ensemble, c’est plutôt
pas mal; disons que t’as un petit défaut qui est normal en débutant, hein, parce que de temps en temps on n’
exagère pas assez, c’est-à-dire qu’on fait des intervalles, des quartes un peu trop justes, ca nous fait des
notes un peu basses et là en fait tu fais des quartes un peu grandes, donc des notes un petit peu hautes et
donc ma foi, il faut que ce soit ni trop haut, ni trop bas, mais ca, toujours quand on démarre, on exagère
toujours dans un sens ou dans l’autre et c’est vraiment en en faisant, donc il faut en faire beaucoup,
que ca viendra. Alors, bon, pour l’instant, c’est plutôt bien parti. Tu continues le do; deuxième du do.
PENETRATION DE SANG.
Pénétration de sang.
Ah, c’est bien, tu y touches pas là...
UNE LAME DE MIROIR TRAVERSE SES DEUX JOUES, animant...
ANIMANT LA BOUCHE D'UNE MANIERE DE SOURIRE VERTICAL. DU SANG, PARTOUT.
Voilà. On a compensé un petit peu.
QUI RUISSELLE.
Y avait si-ré dièze. Y a une différence un peu trop marquée par rapport à la progression...
DU SANG FACIAL. SANG D'ENCOLURE. SANG DIGITAL. SANG POITRINAIRE. DU SANG,
PARTOUT. QUI RUISSELLE. MERCURE MACULANT.
Mais en l’occurence ca nous arrange, ton si étant un peu haut. Bon, ca veut dire que t’amènes ton do un peu
plus bas, mais du coup, il doit être à peu près bon. C’est à dire que l’erreur qu’on avait accumulé à cause
du ré dièze; on l’a un petit peu rattrapé, là.
L'ODEUR DU SANG, LE GOUT DU SANG. COMME LES SELS. OU LE SOUFRE...
MUSCLES TETANISES, IL SUIT AVEUGLEMENT LE TRAJET STRIDENT DE LA DOULEUR. Ses yeux sont presque indemnes...
Alors donc, troisième...enfin sol dièze maintenant. La bémol-do
SES YEUX SONT ENCORE INDEMNES, MAIS NOYES DE SANG.
Il a tout de suite trop mal pour poursuivre jusqu'au bout son geste. Il a tout de suite trop mal pour...
Il a tout de suite trop mal pour...
IL A TOUT DE SUITE TROP MAL POUR POURSUIVRE JUSQU'AU BOUT SON GESTE.
HERBES RASES, EPINEUSES, COUPANTES, INTERMINABLEMENT RAIDIES PAR LE SANG.
De quoi, c’est ca que tu veux?
Flux tamisé...
D’accord.
Flux tamisé. FLUX TAMISE CHASSIE DIAPREE DU COUCHANT VITRES FUMEES ROUGEURS DE L'INFIRMITE CELESTE
Attends. Stop. Flux tamisé...Stop. J’y vais. Deuxième partie... Deuxième partie de la deuxième partie. Deuxième page de la deuxième
partie, première prise. Flux tamisé...Flux tamisé... Flux tamisé... Chassie diapree du couchant. Hnn.
Deuxieme ou troisieme prise, deuxieme partie de la deuxieme partie.


IL A MEME LA PEAU SATINEE D'ELLE PELIA ETIREE GRANDE OUVERTE AUX SECRETS QU'IL DEFLORE TANDIS QUE
L'ORBE DE LA CELLULE CLINIQUE DISPARAIT EN VARIANT SES TEINTES DE GRANDE BLANCHE JUSQU'A LA TOUTE
MULTIPLICITE DE L'ENFIN MOURIR ANEANTI.

Il a meme la peau satinee d'elle pelia etiree grande ouverte aux secrets qu'il deflore tandis que l'orbe de la cellule clinique disparait
en variant ses teintes de grande blanche jusqu'a la toute multiplicite de l'enfin mourir aneanti.

Il a meme la peau satinee d'elle pelia etiree grande ouverte aux secrets qu'il deflore tandis que l'orbe de la cellule clinique disparait
en variant ses teintes de grande blanche jusqu'a la toute multiplicite de l'enfin mourir aneanti.

Il a meme la peau satinee d'elle pelia etiree grande ouverte aux secrets qu'il deflore tandis que l'orbe de la cellule clinique disparait
en variant ses teintes de grande blanche jusqu'a la toute multiplicite de l'enfin mourir aneanti.

Il a meme la peau satinee d'elle pelia etiree grande ouverte aux secrets qu'il deflore tandis que l'orbe de la cellule clinique disparait
en variant ses teintes de grande blanche jusqu'a la toute multiplicite de l'enfin mourir aneanti.
De l'enfin mourir aneanti.. jusqu'a la toute multiplicite de l'enfin mourir aneanti.
LA PENTE ENSEVELIT L'OMBRE DES ... la pente... la pente ensevelit...
IL ERRE MAINTENANT PARMI LES ARBUSTES DESOLES PLANTES SUR LA FRANGE INTERS...
Il erre maintenant parmi les... Stop. Stop! La pente ensevelit... Stop. Arrete. Stop. Sixieme prise. En deca. Au dela d’une montagne
de coupes...
EN DECA. AU DELA D’UNE MONTAGNE DE POUDRES COUPANTES.
Stop. LA VIEILLESSE DÉPLIE SES GESTES. LES STEPPES DÉPLOIENT LEURS CYCLES DE FATIGUE.
C’est bon ?
Je reprends.
Ouais, ca fait un quart de ton. Euh, c’est quoi, l’autre ? Tu enregistres, là ? Ah bon, hmm, bon. K4
La vieillesse deplie ses gestes. Les steppes deploient leurs f... La vieillesse deplie ses gestes. Les steppes deploient leurs cycles
de fatigue. Poudres coupantes. Les foudres. Stop. La vieillesse deplie ses gestes. Les steppes deploient leurs cycles de fatigue.
POUDRES COUPANTES. LES FOUILLES CEDENT LEURS ROUAGES ...
Les fouilles...Poudres coupantes. Les fouilles cedent leurs rouages...Les fouilles cedent leurs rouages...
Les fouilles cedent leurs ...pff...stop. Hmm. La vieillesse deplie ses gestes. Les steppes deploient leurs cycles de fatigue.
Poudres coupantes... Tuer pour demeler l’ ... Tuer pour demeler l'enrubannement mortel. Tuer pour de...
TUER POUR DEMELER L'ENRUBANNEMENT MORTEL.
Tuer...Stop. Tuer pour demeler l'enrubannement mortel.
BRUISSEMENT DES REGARDS ETEINTS. LUMIERE AVEUGLE. ET LA SOIF QUI RONGE LES COMMISSURES DES LEVRES.
Puis c' est la nuit.
PUIS C' EST LA NUIT. LORSQU'IL SE REVEILLE, IL L'A TUEE ...
C' est la nuit. C' est la nuit. Des risées de nerfs. Stop. C' est la nuit.
Ben le piano disons que moi ca fait 10 ans que je joue du piano...
C' est la nuit. Des risées de nerfs.
...je savais pas trop quel métier faire ...
Stop.
...et qu’en tant que non-voyant, y a pas grand chose, mis à part le...
C’ est la nuit.
standart...
DES RISÉES DE NERFS. Stop. Je reprends tout.
...le standart ou les bureautiques. Euh, qu’est-ce qu’il y a?
J’y vais
Y a eu le métier de césilleur-empayeur qui a fait un gros vide en ce moment ou autrement l’accord.
Ou alors si on était très très doué en musique...
IL SE SOUVINT : RIGIDE SOUS LA TENUE BLANCHE,
on peut faire une carrière en musique, mais c’est pas permis à tout le monde
IL AVAIT TRAVERSE L'ESPACE DESERT DES MIROIRS.
tout le monde ne s’appelle pas Gilbert Montagné
IL AVAIT OBSERVE LES YEUX QU'IL AURAIT DU TRANSPERCER,
Gilbert Montagné, il était ici...
TROUBLER SUR TOUT L'EMAIL.
dans les années 60, 70...
LES DYSSENTERIES AMIBIENNES DU CERVEAU. LES SAUCES DENTAIRES DE POUDRE BETAMORPHINE S'ECOULANT
DANS LA BOUCHE. LE SANG AVAIT PERLE EN FINES GOUTELETTES
Il était ici, ouais...
SUR LA VITRE ENCEPHALE. IL ETAIT DEVENU BOUCHE - BOUCHE BLANCHE OURLEE DE VELOURS NOIR.
Il a été jusqu’en troisième ici...
BORDEE DE FEMININES, LA NUIT MENTALE AVAIT JETE SON CADASTRE MORTEL. IL AVAIT TUE ...
Ouais, il a été dans c’t’école...
IL SE SOUVINT : ELLE DORMAIT, LE VISAGE FACE AU MUR. IL AVAIT LENTEMENT DEFAIT LES LANIERES DE FIXATION DE LA HACHE SUSPENDUE AU-DESSUS DU LIT. IL S'ETAIT RETIRE DANS LA PIECE VOISINE POUR AIGUISER LA LAME. ENSUITE, IL ETAIT REVENU OUVRIR LA CROISEE APRES AVOIR ECARTE LES CANTONNIERES DE VELOURS. LE JOUR COMMENÇAIT A SE LEVER. DANS LA LUMIERE, IL AVAIT FAIT S'ABATTRE LA HACHE SUR LE COU DE PELIA. SON CORPS S'ETAIT TENDU BRUTALEMENT POUR SE RECROQUEVILLER A PEINE UNE SECONDE PLUS TARD. A MOINS QUE LA SECTION DE LA TETE NE SE SOIT ACCOMPAGNEE D'UN SURSAUT TERRIBLE
LES SANGS PLUS VIOLENTS QUE RADIOSCOPIES DE FEU
...AU POINT QU'IL N'AIT PAS EU LE TEMPS DE REPRODUIRE SON GESTE... C'EST CELA : IL AVAIT LACHE SON ARME,
LES SANGS LE CHAOS DES SIGNES
SURPRIS PAR LA SECOUSSE... LE SANG AVAIT JAILLIT...
LES SANGS POUDRES COUPANTES...
LE SANG. LE SANG DE LA TERRE. LE SANG DU SACRIFICE.
L'HORREUR EN SANGS.
LE SANG MORTEL. LE SANG... DU SANG, PARTOUT. DANS L'HORREUR DE L'ASTRE FROID.
LE SANG PERLAIT AU-DESSUS DES VITRES. LES AGES S'ABATTIRENT. LE MAL DISTILLAIT DES SOUVENIRS, FAUCHAIT LEUR ECLOSION POUR SIGNER DES SUTURES... POUSSIERE EMBRECHEE. L'HORREUR EN SANGS. IL ENFONÇA SES DEUX INDEX DANS LES POUR LES ENUCLEER. L'ACRE SAVEUR DU MEURTRE.
Les Steppes? Les Steppes. So?... Solevienne. Vienne? Solevienne. Approchai J'approchai, c'est, j'approchais, z'approchai, c'est y'en a c'est j'ai, approchai, approchai, c'est approchez-vous. J'appro-oui, approchez-vous. Tu? Tir...Tir, c'est, Tir c'est divin. Cristal et cen... Cristal, c'est... C'est du sucre! Elle. Obscurité dé de cyane. Ses nateuls, pour déméler l'enrubanement mortel.
J'approche, euh,..... il se souvint, oui, il se rappelle, il se souvint, plus' violent a de radiosc...approche toi plus' des radioscopies dé, de feu , le chaos des signes... L'aube? Dé, déneslè, gy né cée, le désert , oui, la fin? Oui, ah, j'ai beaucoup oublié. Ils montaient, descendre, monter, l'envie?, sauci, suffit, u, c'est du feu, ......j'ai oublié vraiment. L'identité c'est la carte, la carte de votre journée...dans l'obscurité, aux étoiles, l'envie des étoiles, jaillissement jaillissement, comment? Cristal, c'est des... c'est sang, le sang c'est, le sang, qu'est-ce que ça coule, sang, sang

Bon, ben voilà, alors, donc, c’est bien... Alors écoute la quarte, maintenant, c’est bien, allez, si bémol
J’ai des radios, là, t’entends ?
Attention, tu peux encore l’améliorer un peu, redescends... Encore un peu. Ah, t’as dépassé...
C’est bon!
Remonte, très peu, très peu, encore...
Je pense qu’il est un peu un peu un peu bas mon si quart dièze...
c’est presque ca, encore un tout petit peu
si quart bémol, plutôt... la trois quart dièze...
Ah, dépassé, là, redescends... Remonte, attention, on arrive
LE GYNECEE DESERT. LA FIN. LES BLANCHES CECITAIRES.
Celui là, il sera un peu difficile... Fais la troisième
Stop. Le gynecee desert... Les blanches cecitaires. Le gynecee desert...
Bon allez, faut faire le K1, parce que celui la, il me prend la tête...
Parfait! Ah, c’est bien, ca...Voila. Oui, on a le si bémol, c’est vrai qui...dièze...Deuxième...
T’as dépassé, redescend...
IL FAUT EN FINIR.
Redescend... Ah, t’es dessus, là...
LE VIDE ETEND SON DOMAINE EN CREUSANT LA DOULEUR. AVEUGLE,
IL EST AVEUGLE. IL CHERCHE A TATONS DANS SA NUIT D'AVEUGLE.
Ah, presque, mais t’as dépassé. Oui, contrôle... Alors, si et troisième du ré dièze... Redescends...
IL ENUCLEE LE CRANE,
C’est bon, remonte...
Il enuclee le crane, il enuclee le crane, LAVE LES YEUX PRELEVES ET LES OBSERVE LONGUEMENT.
Bien, allez, si...
OU DU MOINS, FAIT SEMBLANT DE LES OBSERVER; IL EST AVEUGLE. IL PORTE LE CORPS DECAPITE DE LA JEUNE
FEMME DANS SES BRAS,
Attention, t’as dépassé, redescends... Presque, presque...
PUIS LE DEPOSE SUR LE LIT D'UNE CHAMBRE NUPTIALE.
IL ETREINT LE CORPS SOLEDIEN, LE DEVET
Encore un petit peu...
ET VIOLE SA MORT
... mais je pense que t’as dépassé
EN FORÇANT LES CHAIRS TETANISEES. C'EST LA NUIT. IL SE RETIRE, DANS LE DEGOUT DES CORPS MORTS.
Oui, ca va pour... oui, oui, étant donné...
Il souleve le suaire, rend son echarpe de soie blanche a la morte, puis roule son cadavre...Il souleve...
IL SOULEVE LE SUAIRE, REND SON ECHARPE DE SOIE BLANCHE A LA MORTE, PUIS ROULE SON CADAVRE DANS LE DRAP.
La fascination d'une perte vitale; ou funeste. L'ecriture liminale de l'aube et du crepuscule. L'identite de la naissance et de la destr...
Stop.
LA FASCINATION D'UNE PERTE VITALE; OU FUNESTE. L'ECRITURE LIMINALE DE L'AUBE ET DU CREPUSCULE. L'IDENTITE
DE LA NAISSANCE ET DE LA DESTRUCTION. DANS L'OBSCURITE OU LES ETOILES SUCCOMBENT A LEUR JAILLISSEMENT
FUSELE.
On va essayer d’avancer pour faire quand même quelques notes, qu’on puisse se rendre compte... Deuxième.
T’as donc une sixte qui bat vite, donc pour avoir la bémol-do qui batte comme fa dièze-ré dièze, il va
falloir que tu aies un la bémol un petit peu bas, par rapport au do; pour que si... euh, la, les deux
vitesses de battement soient égales. Alors, ca fait que ca nous donne une quinte qui est tempérée à l’
envers, c’est à dire qu’elle est trop grande, alors qu’elle devrait être plus petite que la justesse d’un
douzième de coma, ce que je t’ai déjà dit et que tu dois savoir normalement, hein... Donc, alors, la suite
du sol dièze, deuxième...


De retour a la salle capitale... De retour a la salle capitale...De retour a la salle capitale. Deja grise par l'odeur de mort, il choisit...
De retour a la salle capitale. Deja grise par l'odeur de mort, il choisit dans l'argentier une bouteille d'ethylenether. Stop.
De retour a la salle capitale. Deja grise par l'odeur de mort, il choisit dans l’arg...Chut...
DE RETOUR A LA SALLE CAPITALE. DEJA GRISE PAR L'ODEUR DE MORT, IL CHOISIT DANS L'ARGENTIER UNE BOUTEILLE
D'ETHYLENETHER ET DESCEND AU SOUS-SOL BOIRE JUSQU'A L'IVRESSE.
Remarque, non, j’aimerai bien, autant faire le K4
PUIS IL INCLINE UNE FLASQUE D'ETHER PUR AU-DESSUS D'UNE COUPE DE VERRE.
parce qu’il m’angoisse terriblement, celui là
Plonge dans le recipient les yeux...
PLONGE DANS LE RECIPIENT LES YEUX ENUCLEES DE LA MORTE ET MET LE FEU A L'ETHER.
Fixes, les yeux commencent a bruler en crepitant un peu. Fixes, les yeux commencent a ... Fixes...
FIXES, LES YEUX COMMENCENT A BRULER EN CREPITANT UN PEU. L'HUMEUR VITREE SE MELANGE A L'ETHER.
PUIS SOUDAIN, LA COUPE SE BRISE, SOUS L'EFFET DE LA CHALEUR, TROP VIVE. AVEC PRECAUTION, IL INCISE SON OEIL
GAUCHE AU MOYEN DU RASOIR COUTEAU.
Stop, attends... Avec precision, il incise son oeil gauche... Avec precaution, il incise son oeil gauche au moyen du rasoir couteau.
EN PRENANT SOIN DE NE PAS BLESSER LA PAUPIERE.
Tiens, on essaye K4 ?
La douleur devrait etre insoutenable, mais il ne sent presque rien. C'est ensuite le tour de l'oeil droit. Stop.
C’est vraiment 120 à la noire ? K4, deuxième
Avec precaution, il incise son oeil gauche au moyen du rasoir couteau. En prenant soin. ..En prenant soin de ne pas blesser la paupiere.
5, K4, 5...
Avec precaution, il incise son propre oeil gauche en prenant soin de ne pas blesser la paupiere.
LA DOULEUR DEVRAIT ETRE INSOUTENABLE, MAIS IL NE SENT PRESQUE RIEN. C'EST ENSUITE LE TOUR DE L'OEIL DROIT.
K4, 5, deuxième...
Ecoulements d'humeur et de sang.
ECOULEMENTS D'HUMEUR ET DE SANG. IL REPRODUIT SON GESTE EN DESSINANT LA CROIX OBLIQUE AU CENTRE DE
CHAQUE OEIL. PUIS ABSORBE SEPT AUTRES CACHETS,
Allez, 5!
TROIS VERRES D'ETHYLENETHER ET RENOUVELE SON INGESTION. L'APAISEMENT DE LA RUINE. ET LA DOUCEUR DE L'AIR.
K4, cinq
On y va
K4, cinq
Il pose un pied sur le rebord du bassin d'ether. Manque de perdre connaissance. Pinçe les narines pour eviter l'anesthesie,
etend son corps entier sur les dalles glacees, Pinçe les narines pour... Alors, attends, je reprends
IL POSE UN PIED SUR LE REBORD DU BASSIN D'ETHER.
K4, cinq
MANQUE DE PERDRE CONNAISSANCE. PINÇE LES NARINES POUR EVITER L'ANESTHESIE, ETEND SON CORPS ENTIER SUR
LES DALLES GLACEES, ET LAISSE BASCULER SON CRANE.
LE SCINTILLEMENT DES CLIVAGES MORTUAIRES. LE BALANCEMENT SAUMATRE.
K4, quatrième temps de 8
LE VIDE. LA CONSOMPTION DU GYNECEE. LES STEPPES.
quatrième temps de 8
ET LA DOUCEUR DE L'AIR.
K4,quatrième temps de 8
Il saisit le briquet. Il saisit le briquet. Sans force,
IL SAISIT LE BRIQUET. SANS FORCE, ACTIONNE LA MOLLETTE.
...veut pas monter...Fa!
LE FEU S'ELANÇE.
K4,quatrième temps de 8... On recommence. Ah, alors... c’est le fa qui y est pas... 10! K4, 10...
On a gagné 2 mesures.
SUPERPOSANT LES IMAGES DOLOREES DU SUPPLICIE,
10!
LE CIEL REPRODUISIT LE VISAGE DE CRISTAL ET DE CENDRES DE
K4,quatrième temps de 8...
L'AGONIE SOLEDIENNE BLEUIE DE LAMES POUDRANT L'ESPACE DE SES POUSSIERES DE MORT.
K4,quatrième temps de 8...
J' APPROCHAI PUR DIVIN CRISTAL ET CENDRES QUI DECEDENT
Ca va trop vite, tout ca...
ELLE OBSCURITE
Attends...
DE CYANE M'ACCUEILLIT DANS SES BRAS LINCEULS
10, alors... Sinon, on va pas s’en sortir. 10! Euh, mi-fa, pardon, j’arrive même plus à lire les notes qui sont dans les lignes... Dernière fois, plus piqué, encore ? Qu’est-ce que... Là, j’m’emmêle les crayons...’tends, j’arrête deux minutes parce que... 10! C’est quoi, ca ? C’est un sextolet, oui ? Ca te va, comme ca ? Et après, après, c’est bien un sextolet avec un demi soupir au milieu, c’est ca ? 10! Putain... D’accord. 10!




Essaie d’améliorer un peu... Redescends, maintenant. Ah dépassé, redescends. Bien, troisième.
Un coup au do dièze et ce sera la dernière note. Essaie de l’améliorer un peu, tu peux l’avoir un peu mieux... C’est presque ca, redescends... C’est presque ca, mais, on a encore un petit...redescends...
redescends et remonte lentement vers la justesse.
Bon, alors, il y a des petites inégalités, c’est pas mal comme partition, hein, de toutes façons, mais il y a quand même des petites inégalités parce qu’on a exagéré certaines quartes et ca nous a, ca nous a impliqué... ca nous a amené des erreurs donc qui se sont un peu accumulées. De temps en temps on a pu
récupérer mais pas toujours et ca fait... Oui ?
Donc fa-la, fa-ré et puis si bémol-ré, ensuite fa dièze-la dièze, fa dièze-ré dièze, si-ré dièze; sol-si, sol-mi, do-mi; la bémol-do, la bémol-fa et ré bémol-fa.

F. J. Ossang [text]
F. Acquaviva [de- & recomposition]



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