The indications of the Master

N. Lygeros

Translated from the French by Vicky Baklessi




God only knew how many scores he had studied in his long life. But this time it was really different. This writing of the score was even more abstract and he did not want to make mistakes. He had always in mind those XIX th century editors who had thought it necessary to correct Mozart through his rondo in A minor. They had even changed its articulation in the fourth bar. Whereas Mozart had never so charged with meticulous dynamic indications one of his pieces. However, even cultivated people were able to commit such affronts. So he did not want to fall into these traps. He had to read the five alphabets simultaneously, while taking care of the possible indications of the Μaster of time. Since he did not know the subtle shades and the phrasing, he had to discover the mark of his game. And he knew it was not a simple game. He thought about all this in the midst of the five lying when the music resumed its course. The passage was different. And it was without doubt this one that he had to follow to find the way. It was an initiatory journey and he found himself in the position of the apprentice, he the old scholar. It capped it all, but he was happy. It was thus that he noticed that the codex was accessible despite their apparent fixity. They had been placed in the hands of the effigies as a puzzle. Everything seemed immobile and yet there was a dynamic solution. This was what he had to look for when he listened to the music of the effigies and the indications of the master. Was it so simple? Why wasn’t it thought of before? They finally succeeded in opening up one of the codex, or more precisely its interior. He had chosen the Venetian codex, for it was in this language that he was most comfortable with. He looked at the first sheet. And hastened to read the first sentence. He transcribed his translation on a sheet. The examination of the notion of humanity in a strictly ontological framework is reductive. He was not sure, but it was the idea of the codex phrase. This writing surprised him somewhat. He expected an older style. But it probably did not make sense. How can one not be surprised by a first measurement of a score hardly discovered? He felt that he was reading the memory of the future and not the past of memory. However, it was too early to reflect. He had to solve the other four puzzles before writing his hermeneutic notes. Then he closed the Venetian codex and approached the Russian. It was more complex. And he succeeded in solving it only by exploiting his earlier knowledge. Each puzzle helped the other because each puzzle took into account the previous one. It was a real companion job. The master had thought of every detail. It was only after several hours of tiring work that he succeeded in liberating the five codices of the effigies. At that moment, the music fell silent. Five movements for one silence. The code was in place.







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