The Newness of Time Itself

“Les sons et les parfums tournent dans l’air du soir” (Baudelaire courtesy of Debussy).

Notes, sounds, meld and melt in time. Memory and anticipation interpenetrate each note heard in the present tense. And memory also coerces the immanent future to follow the patterns of the past.

Sometimes, in our performing, this leads to a sense of taking a piece for granted: we’ve heard it all before, nothing is new to us, no surprises are left for us. The piece starts, we dutifully endure through its time span playing each note in its place. The piece ends, we stop playing, we bow and go through the ritual of accepting the praise of the audience.

Are there steps we can take to bring life, spontaneity and freshness, back into the performance. We cannot re-order the notes; we seem to be chained to an ineluctable sequence of cause and effect.  And though we are free to pick up the implication of where the current note seems headed,  when we do get to play the note and hear it through our outer ears, it can remain essentially a surprise. Though we expect time to repeat, we are nonetheless free to consider each next moment an open question. We live in in immanent cloud of possibilities where there is always more than one  direction the music might head next.  When we ‘finally’ get to hear it, all the  possibles are wiped away, effaced in the blatancy of the bright light of  the actual present.  This is no less true when we have wagered on one  particular note and we win the hand: the note we thought would happen did happen. We find that we were ‘correct’ in our assumption of what sound  (not manifested yet in time), does indeed become manifested in the richness of time as it flows into the present.

Yet this bright light of the present, though it remains shining as long as we remain in the present, shines only briefly on any particular note. As far as  the note is concerned, this light is good for only one transient moment.

So if we don’t want to fall back into the darkness of the non-present, somehow we must live within the light of this omnipresent present.

To offset the staid performance is the conviction, remaining in our consciousness, that every note we take the trouble to hear is the first note of the piece. Like a true beginning, like the promise of each day’s  sunrise, it opens up for us a world of infinite possibilities. And for us to maintain this through the very last note of the piece (which itself could have  been followed by another – but just wasn’t).

To the extent that we can we let each note within the piece shed at least some of its accumulation of the past, an accretion that is rapid and inevitable under normal circumstances, the piece fights its way back into a state of alertness and freshness.

Mental presence is the key.