About this work:
Permutations is a cycle of five works, all based on six pitches: C, D, E, G, A, B. The melodic aspect of all these works is based on permutations of these pitches. In some works, the permutations are progressing in an orderly fashion (C-D-E-G-A-B, C-D-E-G-B-A, etc.), while in others, the permutations are random. These works were written for the Ensemble for Different New Music (originally, in Serbo-Croatian: “Ansambl za drugu novu muziku”). The group was based around the Student Cultural Centre in Belgrade, and it was made up of composers and performers, mostly students. The very first concert of the Ensemble was given at the Student Cultural Centre in Belgrade on December 7, 1977, with an early version of this work, titled Permutations. That early version (today called Permutations, 1977 Version), had three movements. Later, I realized that each movement could stand as a work on its own, and I developed other additional works, to form the cycle Permutations (I to V). Each of the works in the cycle Permutations is using a different compositional procedure. Permutations I, later called “Little Peaceful Music” (1976) consists of a single line, written for a solo instrument. Permutations in this piece are random, with absence of any melodic sequence. Permutations II, “Canon” (1976), is a piece for two pianos played by seven performers. Here, each performer is assigned a single octave, all of them covering the whole seven octaves of the piano range. Permutations are random. All seven lines are starting in unison, but then, they gradually branch out into a canon. Permutations III, or “Water Tones” (1976), went through a transformation over the years. Originally, the music was written down, as a piece for three pianos, 18-hands (three pianists on each piano). Soon, another, improvisational version (for pianos, electric piano and mallet instruments) proved to be more effective. In Water Tones, each hand performs random permutations of six notes within a range of a sixth: G, A, B, C, D, E. Permutations are random, and so is the rhythm, made up of random long or short notes, with the avoidance of a pulse. Any sequence, melodic or rhythmical, is to be avoided. The role of the conductor is to determine who plays at any particular moment, and to show the dynamics, articulation and the speed (tempo) by which particular performer(s) should play. This is something that I like to compare to Jackson Pollock’s action painting, where the painter is making a general gesture (spilling the paint certain way in particular direction), but can not predict the details of the painting. The musical form of Water Tones is thus created by the conductor (myself), and each performance represents a new version. In 2011, I made yet another version of Water Tones--a studio recording, where I recorded separately each part on a 15-track recording. Permutations IV, “Mirror” (1980), is a piece for piano 6-hands. Permutations are proceeding in order (C-D-E-G-A-B, C-D-E-G-B-A, etc.), both horizontally and vertically. Each hand plays one note at a time. The chord is always made up of all six notes. The process goes on until all 720 possible permutations of six notes are completed. Permutations V, “Sound of the White Hole” (1978), is a piece for six performers on various keyboard and mallet instruments, all performing in one single octave (“middle-C” octave). Each performer plays one of the six notes of the chord (cluster): C, D, E, G, A, B. Permutations are vertically proceeding in order (C-D-E-G-A-B, C-D-E-G-B-A, etc.), each chord being orchestrated differently. The work is made of all 720 possible orchestrations of a six-note chord with six different timbres. The cycle Permutations belongs to my beginnings as a composer. Since 1980s I haven’t done much work in that style—a style which I like to call “Ascetic Minimalism.” THE RECORDING, ENCLOSED HERE: Permutation III ("Water Tones") is an excerpt from the 77-minutes May 21, 2011 version of this work. Performed by the composer on piano and electronic piano, using various timbres. This is multi-track studio recording.