Nice People
or how air vibrates
A music operation for tripled humans: 'singing-speaking-fighting' shaping a crowd

But by silenced nice people,
the consequence of an unwaitable situation
is acted

Made by Myster Shadow-Sky.
As a French born composer, let me precise:
Why my music is not, or bad performed in France?

France is not a land with people who appreciate music.
Otherwise, my music would be performed non-stop.
Even when they rest from fighting every day for power,
- Power for domination -,
French like first to talk.
Silence, in France is 1st disturbed by conversations.
The French taste society life to gossip.
[called in French 'mondanité': cocktail * party?
Attitude we can also find in NYC and LA - in rich cities -
in 'sold contemporary art world' driven by rich spouses].
These people behave affected
[to hide who they are. Why? What do they are afraid of?]
The major weapon for domination in France is the language.
How you use it to speak to others.
There is a dominant accent, with precise pronunciation,
That put other French accents in a certain disadvantage.
You can humiliate anyone only with few words.
Particularly if you are well informed
about hidden private behaviours of your opponent.
You can reveal them to beat your opponent. Means that:
Everyone in France is the opponent of anyone. Yes.
Everyone in France is the opponent of anyone. In France,
it exists a constant balance of aggression, only by talking.
This art of killing with words is a branch of the rhetoric.
The rhetoric was initiated and developed by the ancient Greek.
These talking people were called: Sophist.
Gorgias is the best known because of the Plato dialogue with Socrates.
Rhetoric is the art of persuasion.
Mostly for 3 assemblies: the court, the senate and people.
You understand now how politics dominates French behaviours.
And you understand why an attorney can become a politician.

And elsewhere?

* You know what it means cock and tail.
Cock is: or the bird, or the male sex in an erection.
And tail is a tail that could also designate an erected cock.
For rich affected Americans, to pronounce 'cock' in society sounds profoundly vulgar.
Everyone around the table, mostly rich middle-class people, is shocked by hearing the word
that 1st designate a bird singing at dawn.

.

WHAT IS
THIS ABOUT?

'Nice People' is essentially a vocal music, acted by synchronized several triplets human beings, together shaping a crowd;
How many triplets to get the sensation of a crowd? is ad libitum (= as you like).
By mixing the triplets, it creates a Unique Entity singing-speaking-fighting at the same time.
Each trio or triplet behaves 'strictly synchronized' singing, speaking, and fighting.
The purpose of that triplet time synthesis is less to be synchronized than to generate another 4th new different entity.

Each trio or triplet is perfectly synchronized in sound and movement to maintain its 4th entity.
Otherwise, the fourth entity from their exceptional synchronized triplet cannot exist; or it is lost.
Each 4th entity is made with a triplet who are: 1 singer, 1 actor or actress, 1 stuntman or stunt woman:

. If the singer is a female, the speaker is a male.
. If the singer is a male, the speaker is a female.
. If the speaker is a male, the stunt is a woman.
. If the speaker is a female, the stunt is a man.

It is interesting to figure that a complete human being is a complementary of female and male sex.
The conscious self [le Moi] has its complementary in the opposite sex with the unconscious self [le Soi].
Or: in each human being, there is the balance female/male:
  A body male with a female spirit.
  A female body with a male spirit.
Where the proportion male/female differs in each full divided individual.
One sex is the reverse of the other. To fit together.
Always.
The 2 extremes of this male/female balance are:
- 100% body male with 0% female spirit
and at the opposite:
- 100% body female with 0% male spirit
Even if it is denied by dominant males having a female part inside.
Even if it is denied by submissive females having a male part inside.
Out of 'affected attitudes'
[attitude took from others]
to mark (= to relieve his/her fear) in what proportion our individuality belongs.

Also,
It exists human beings that belong to any group.

Operatically or operationally that unique situation creates 3 scenes (not as separated stage) in the same act in the same place:

1. The singing in and from our dream lives
2. The speaking in and from our awake lives
3. The chaotic fighting among the audience in and from our social lives

Stage designing the triplet is in same space separated:

1. The singers are everywhere in space: their voices are flying in space like a strong ghosts presence.
2. The speakers are wise men and women exchanging ideas and drinking alcohol around a table.
3. The stuntwomen and stuntmen are fighting people among the audience generating a big confusion by shocking and exploding things around: light harmless things like carton boxes, exploded balloons, smashed panes, among a set of percussion: drums, gongs, tubes, metal plates sounding storm, and everything else.

Common rhythm

To synchronize the time between talking, singing, and fighting
which in normal condition each of one moves by its own rhythm,
their common rhythm will sound and moves strange and weird.
And that is the point!

.

The long overture of this music operation is: Tension, a music written in 1982:

OVER/TURE:

Tension (1982) music for 3 doubled musicians performing 1. high rubbing strings, 2. low rubbing strings, and 3. percussion, with a stuntman, and stuntwoman at the end, also with beating red light synchronized to the 3 seen performers beating heart (not the doubles backstage), in addition: 3 live video portraits: a triptych, also spasm shaking crumpled sonic clothes with contact microphones, the vices are amplified with through microphones, a glass pane to be crossed by a stunt, and 3 glass pane on wheels as percussion, and rain too, etc. This overture answer to that question: How suffering is sufferance and how it is felt? The singing in Tension is the scream. . Get the description and the score here.

The short explosion of this operation is: Nice People, music being written in 2025:

1st ACT:
Peace or War?
How to live to die?
being rid and free from our
hypocrite moral or instil principles.
And how moral dogma can sound hypocrite?
Or cannot sound hypocrite to their users?

- "NICE PEOPLE sounds like a slogan
from a communication enterprise
willing a nice cover to hide its corruption"
- Yes, it is.

There are 3 actions happening at the same time:

1. a conversation between 'wise people' (?) drinking alcohol around a table in one place
2. mixed with a double, a singer singing everywhere else: because of their singing voices flying in three-dimensional space
1+2. The speaker and singer are 2 voices in one in perfect synchronization. Making the 2 voices being one. A female for a male and vice and versa.
        It is called A SYNTHESIS: 2 different mixed sounds giving a 3rd different sound
3. an agitation made by a general fight among the audience by stunt men and women. With falling and explosion things everywhere.
1+2+3. In addition, the fighters are a triple of the speakers and the singers.
           The synthesis link between the triplets is the perfect synchronization between singing/speaking/dancing at the exactly same rhythm.
1+2+3. The triplet number of dreamer singers, wise people speaking, and stunt fighters are: 10 or ad libitum. *
            It means that to obtain a colourful music: more triplets are, richer is the music.
            Fewer triplets there are, more accompanying musical instruments must be: or: the orchestra must be larger to full the gap of missing triplets.

Each singer of the triplet is singing on an independent nonoctave scale.
For that, to give the tone of the voice,
1 scaled polyphonic or 1 polyscalar polyphonic musical instrument, keyboard or strings, is attached to 1 triplet.

The synthesis of the link between the synchronized individuals of the triplets is time, in the rhythm.
The spatial link is the acoustic architecture of the performance place;
      which is not an opera house, neither a concert hall,
      but a unique place with a unique acoustic
      to enjoy real music lovers to listen to the music in an unusual context.
      A different architecture at each performance.
The rhythm of the fight is the rhythm of the singing which is the rhythm of the speech.
Each singing gives the rhythm of the triplets, to the speaker and the stunt-fighter.

*
- How many people for how many triplets: speaking/singing/fighting?
- It depends on the production!
- It depends of the connection between talking singing fighting people!

- There is not a designated character for each line:
- Each speaker of the triplets choose his/her replies together with others in the text.
- One line can be spoken by several.

- There is in this 1st act: more than 68 replies (for now) to share with others.
- Replies in square brackets are said by the same person singing speaking but with an other voice [more an other identity than an other accent].
- There are mixed spoken languages English + French (?). And other languages? It can be. And all languages can be subtitled. Everywhere in space.
- To understand what it is said and sang by the audience, the projection of subtitles stays discreet as possible although they are everywhere in space.
- The sang text is phonetic (= to colour the voice), because meaning of words less matter than sensations, communicated to touch
- [A language of the body and matter?].
- Double square brackets indicate additional events.
- Cutting lines makes the global rhythm be urgent.
- Cutting the speech by someone else is indicated by: "..." at the end of the sentence, and at the beginning of the line "..." for the 'cutter'.

Here, starts
the spoken libretto,
the singing is phonetic,
[in progress]:

[The number of syllables
is not the spoken rhythm.
S for syllable, T for rhythm]

FAST:

6S - What it means, nice people? [in between 5T spoken, and 19T sang]
3S - And said in a higher voice fading in far echo: [['mice people?']]
2S - Likeable?
1S - Kind?
2S - Pleasant?
4S - Educated?
3S - Obedient?
6S - Never hurting, no one?
4S - Smiling. Always?
1S - And?…

4S - A nice person...
5S - by being pleasant:
8S - ... does it mean to be likeable?
     |- Une personne gentille parce qu'agréable, parce que plaisante, peut-elle aimable ?
5S - This is not enough!
9S - to engage a trust in a friendship.
     |- Ça ne suffit pas ! pour engager sa confiance dans une amitié.
9S - Do we not have to be confident?
    |- Méfiance ?
5S - Stays vigilant? But...
9S - To not trust anyone: isolates
7S - Stay away from being fooled?
3S - And for what?
    |- Et pour quoi ?
11S - Being fooled by simplistic explanations!
6S - The reason is simple:
    |- La raison est simple :
8S - "No one can please everyone."
    |- « personne ne peut plaire à tout le monde ».
10S - If you pleased one, you displeased the other
    |- Si tu plait à l'une, tu déplait à l'autre.
8S - Being loved by everyone!
    |- Être aimé de tous !
12S - It doesn't work, or only by tricks with make-up.
     |- ça ne marche que par l'artifice du maquillage.
12S - No one can be nice, without the moral social makeup to behave.
     |- Personne ne peut être aimable sans le maquillage moral du decorum social
9S - It is why heroes were created
12S - Heroes (and divinities) are made up beings
6S - to please everyone
9S - A social fake to not feel unloved
6S - Among everyone

17S - The reasons of being attracted and repulsed between humans...
9S - ... And heroes andor divinities...
6S - ... are still misunderstood.
    |- Les raisons d'attraction et répulsion entre humains sont toujours incomprises des humains.
4S - And yet it should!...
9S - ... be understood by everyone...
13S - human beings are attracted to differences
9S - to be able to differentiate... .
6S - ... What it is attracting
3S - Uniqueness!
10S - Being unique, you can't be similar!
1S - So?
16S - In similarity, everyone wants to be different.
- Let's say that way: attraction differentiates to be united in similarity
- Differences are in mutual attraction
- Being similar is repulsive, because your identity vanishes:
- Being similar, you cannot be noticed.
- In opposite side: repulsion similarizes to extract ourselves from any assimilation.
- That sounds paradoxical!
- Attraction similarizes, repulsion distinguishes!
- No! because the reverse here of the reverse there does not annihilate their complementarity.
- Differences/Similarity is the engine of Attraction/Repulsion
- Which is the engine of life.

6S - Therefore, a nice person...
    |- Donc, une personne agréable...
13S - ... Who wants to be appreciated by everyone...
     |- (à vouloir être plaisante pour être appréciée par tout le monde)
10S - ... can make this person A PERFECT TRAITOR.
     |- ... se fait d'elle-même UN TRAITRE POTENTIEL PARFAIT.

9S - Being nice is it to be honest?
    |- Une personne agréable qui s'efforce de l'être : est-ce honnête ?

18S - In reality, to satisfy equally everyone is an impossibility.
     |- Dans la réalité, satistisfaire tout le monde à égalité est une impossibilité.
22S - To obtain the general equalization of satisfaction from everyone
      - Pour obtenir l'égalisation générale de la satisfaction de son entourage,
12S - The one who wants to be loved by everyone
     |- la personne qui veut être aimée de tous
14S - has no choice, and has to adopt: a fake attitude
     |- n'a pas le choix que d'adopter un comportement faux.
    |- à vouloir donner à voir une attitude familière  :
    |- similaire
    |- Qu'être agréable.
    |- à chaque personne au comportement, différent
5S - To be and act nice...
5S - ... is a sacrifice
    |- C'est un sacrifice.
- Because you cannot act by yourself.
- You are acted by moral doctrine by agreement
- And here your agreement testifies your docile obedience
- Nice people suffer from being hypocrites
    |- Les personnes agréables en société souffrent d'hypocrisie.
- Hypo means inside and crisis means something wrong
    |- Hypo = intérieur, crisis = crise.
- Undoubtedly!
    |- Indubitablement !

2S - Again
6S - If it pleased, it displeased.
    |- si ça, plait à quelqu'un, ça déplait à une autre.

11S - Flattery is the basic behaviour of Nice People.
    |- La flatterie est la base conversationnelle des personnes agréables.
- What to tell else to content everybody else?
    |- Que dire d'autre pour contenter les autres ?
- Hearing we have nothing to say to her!
- Hearing we have nothing to say to him!
- Hearing we have nothing to say to them!
    |- Puisqu'on n’a rien à leur dire !
- Talking exist mostly to connect
- To have sex
- To be noticed to be loved
    |- Que de paraître pour être aimée.
- Nice people are suffering human beings
    |- Les personnes agréables sont des personnes qui souffrent
- Hard for them to let it go
    |- qui refusent de lâcher leur souffrance.
- Believing living without suffering will erase heir sense of life
    |- qui refusent se débarrasser de leur souffrance.
- Holding and hiding its suffering characterize Nice People.
    |- en société, la rétention de la souffrance cachée caractérise les personnes agréables.
- The lack of trust
- By suffering betrayal experience
- forbid friendship
    |- L'absence de confiance envers les autres, interdit l'amitié
- That perpetuates inside suffering
- Hiding its suffering obliges to behave hypocritically
- Conventional behaviours known by everyone
    |- ça montre leur méfiance dissimulée par un comportement emprunté
- To not hurt anyone
    |- qui ne doit froisser personne
- A hurt person is a human from who is revealed what s/he hides to others
    |- une personne froissée est une personne à qui est révélé ce qu'elle cache aux autres
- Or, Nice People amuse everyone, because they behave so artificial
    |- ou les personnes agréables amusent tout le monde, tellement elles expriment l'artifice.
- And put others who perceive s/her suffering in an uncomfortable feeling
    |- Et met mal à l'aise les autres qui perçoivent sa souffrance.

- In the soundings subconscious depths
    |- Dans les profondeurs sondables de l'inconscient,
- Nice People are possessed persons by the fear from others
    |- les personnes agréables sont des personnes possédées de la terreur des autres
- Nice People are protected persons from a deep contempt against all others
- Nice People are nice because they are misanthropist
    |- les personnes agréables se protègent d'un mépris sans égal envers les autres.
- Nice People are nice because they feel permanently threatened
- They dislike everyone and hate societies because they feel permanently threatened
    |- les personnes agréables le sont parce qu'elles se sentent menacées, en permanence.

12S - Being always nice with others, is that make nice people?
- At each decision, each step of our lives, there is: the choice how to be:
- one. honest, or two. dishonest. Always.
- This every day binary choice, according to what advantage we want to, decides if we are honest or dishonest.
- In what sense honesty can arm [nuire] people and dishonesty can please people.
- Does Nice People are, by necessity, cheaters and trickster?
- We have to be suspicious. Not to be disappointed. To have been betrayed. By too much confidence in Nice People.
- Si « Nice People » fait penser à un slogan publicitaire !
- C'est parce que les affichages publicitaires en ont abusé !
- Montrant une jeunesse joyeuse (épanouie ? non faussement heureuse)...
- ... de consommer par avoir acheter le produit réclamé... une patte à mâcher une boisson gazeuse...
- ... que la réalité contredit.
- La force du politicien est de ne jamais montrer sa colère qu'il masque par un sourire de pitié,
- c'est la forme du mépris de la gentillesse.
- Where are Nice People? in our disgusting world built by fear?
- Everywhere!
- Now here and nowhere! Like kindness.
- Kind and honest (not necessarily nice outside but with infinite kindness inside) people 1rst do not want to arm people.
- Even by being ‘nice’.
- Polite?
- Yes, politeness is the Nice People major behaviour.
- Which cannot be mixed up with courtesy.
- Politeness is to polish to equalize: to make differences similar.
- Courtesy is an attitude that care about others, where politeness in contrary is an educated behaviour acting hypocrisy.
- There is not a better way to humiliate people by being nice and polite against aggression and vulgarity.
- Vulgarity and aggression make people feel guilty in front of a ‘nice authority’,
- Therefore it makes them feel weaker in a fight without physical fighting.
- The fight without physical fighting is the speciality of our dictatorship political regime we call: democracy.
- This is how works domination in our societies since 5 millennia.
- It is how domination acts on humans: to make of them: obedient ‘Nice People’ by ‘Nice People’ in command.
- If psychological weakness is required in a relationship, it means that violence is dominant in our societies.
- This violence, the one that rape people. To make them obey like ‘everyone else’:
- To make of humans a sea of obedience without waves i.e. people.
- People are a governed population.
- Peuple, pueblo are assembled slaves, by giving up their will, to work for nothing.
- The Latin 'populus' means population not people.
- To work to build and maintain an indestructible Empire convinced being protected by it!
- Protected from what?
- From nonexistent enemies.
- A state a nation exists only because of nonexistent enemies.
- To exist, a State has to invent false enemies: to organize 'a protection' against them.
- Protection means: war.
- Without enemies, there is no war. ‘To occupy our lives with war, we have to create enemies’.
- More kind you pretend to be, more violent you are.
- Yes, look at the policemen, how they can kill so easy anyone with their pistol, they behave (1st) always nice.
- And then, when you refuse to obey appears their educated violence to arm you badly physically and psychologically.
- Is that the way to live together in confidence in peace in harmony? Certainly not!

- Gentle means today in English acting softly.
- Without sudden and unexpected gesture.
- Without violence?
- Without apparent violence.
- Unexpected suddenness is an accident and is what the insurance companies prevent to repair the damages. If it is paid.
- A hidden anger doesn’t mean this nice human is peaceful.
- Gentle (as gentlemen different from gentlefolks) meant ‘to be born in a noble family’.
- In French, to be gentle means to be nice ‘gentil’ (as 'gentilhomme' living a parasitic life in the king court).
- Notice that any king or politicians are living a parasitic life from taxes.
- The French word ‘gens’ means people in English, but 'gens' means also: ‘servants’.
- Does gentlemen are people?
- Un gentilhomme est-il un homme du peuple ?
- Un homme gentil : oui. L'homme gentil est l'élément de base formant les sociétés humaines à domination hiérarchisée.
- The Latin root ‘gentilis’ indicates the attachment to a family.
- But a family in the Roman Empire was not the today family, but everyone living under the same roof,
- including the foreign slaves, servants workers living in the house, exclusively.
- In French this kind (is it kind?) of family is called ‘maisonnée’. It still exists! mostly in win rich farm.

SOLO
- The kindest honest people I met in my entire life was in a psychiatric hospital! Not the doctors or nurses (without mentioning the guards), but the considered sick people. It was clear that the sickness was vibrating outside the hospital. The air outside the hospital was full of pending aggression. Inside the hospital, even being an uncomfortable place for intimate life, the air breathes peacefulness. Were these nice people really sick? No more than the people living outside the hospital. Or let us say that the hospital was ruled by the patients who make believe the doctors being in charge. The Nice People are human beings too fragile to live the permanent trivialized aggression of our societies. Normal people are humans who have built a resistant psychological armour to forget the aggressive vibration of the air of the world.

- The 1st natural behaviour between Nice People is to never use any command word: ‘do this’, ‘bring me that’, ‘stay here’, ‘don’t move’, etc., even with ‘please’! Never! These command words always remain deep in the unpleasant social life, and testifies to the existence of our general cultural trivialized social constant aggression. Nice People feel that in the air’s vibration.

- Being nice and using command words reveals its hypocrisy.
- This is our genuine problem, shaping and living our human societies.

2d ACT:
willing peaceful or warfare life?
Or how to die to live?

- A fight is not a war, same as a battle, it doesn’t mean that there is a war.
- In French the word ‘bagarre’ meaning ‘a general fight’ or ‘not a single combat’, its origin is lost or unknown.
- The war is constant, a battle or a fight is ephemeral.
- ‘Bagarre’ is also called a: ‘rixe’ [from Latin 'rixa'] in English: brawl, fight and scuffle.
- Could be coming from Provençal (South of France) even from the unknown origin language: the Basque.
- One is 'bagarro' the other is 'batzarre' a confusion of confused people in a meeting.
- 'Bazar' means in French: too many things in disorder, a Persian word for 'market'.
- We think about people gathering in a bar…
- where the fight is started!
- because one of a drunk customer is being provoked by an excess of energy given by the alcohol
- mixed with an excess of anger, coming from ‘a not resolved frustration’: a humiliation.
- A bar fight is the result of an overflowing of outburst: where the container cannot contain the content
- where the body cannot content anymore its anger.
- That starts the shoot! The shocks! The explosion of knocks.
- A big mess of knocks? Is it a music for percussion?
- A general fight explode because there is an excess of frustration to get rid of, in each fighter.
- A fight is a psychological pain killer in exchange for some bruises.
- A fight expels the frustrations.
- About bruise, notice that: ‘bruit’ in French is ‘noise’ in English!
- And: ‘noises’ in French means ‘quarrel’ in English!
- ‘tu cherches des noises?’ = ‘are you looking for a fight?’
- To churches in noise?
- To mean war, the Roman ‘bellum’ was replaced by the Frankish ‘werra’.
- There is no explanation why in French, the G replaced the W.
- Frankish came from Germany.
- The Frankish Empire replaced the Roman Empire.
- Like always, since 5 millennia: by organizing an army to destroy everything else.
- The reason for an Empire to exist is to make the war, constantly.
- The desire of any constant war is driven by the individual fear of frustrated people:
- Both obedient and in command.
- Gathering scarred people creates first a city then a nation.
- Borders exist only because fear exists (inside the borders).
- Only a general fear can create and maintain a war.
- Look how a nation can grow a permanent army, ready for aggression with weapons that can exterminate any life on Earth.
- Extermination is mixed up with power: the political power.
- And her is the core of the knot of the war: incompetent and useless felt people seek to arm others to find relief…
- But like that, it doesn’t work! Never! In contrary, the inside pain of the leader becomes bigger.
- Adolf commit a suicide not because he was losing the war, but because he couldn’t bear the intensity of his pain.
- It is a pathological revenge: more the inside suffering of the leader is strong, more the war is painful for everyone.
- War is a political invention.
- It needs fear: the one cultivates in everyone together.
- War started when the 1st cities rose.
- When the 1st wall surrounding a city, rose.
- Security and protection means: permanent war.
- It is always driven by the fear.

- The core of this cultivated human kind pain comes from the idea: 'I am not able to survive my proper life'.
- How this idea came and invaded most of human brains to be acted by fear?
- According to palaeontologists, it took 8,000 years to grow up the fear idea in human mind:
- from -11,000 BC to -3,000 BC
- We are living now, all human kind, with some tiny exceptions, this peculiar fear for 5,000 years.
- Compared to the existence of mankind, starting with Homo Erectus 1.5 million years ago!
- How the feeling of terror spread in all human mind?
- From few to everyone…
- Shit and effort take time to exist.
- To convince you need to vanquish.
- A believer is a vanquished human.
- Vain is the fear, or fear stopped the intelligence to grow.
- Because intelligence can escape from fear.
- To stay in fear you must stay ignorant
- And to stay ignorant you have to be driven by the belief.

- The religion (= the institution of hypocrite mysticism) is the 2d arm of the politics.
- Politics manages bodies to work. Religion manages minds to believe:
- that this is the only life possible for people.

...

.

CONSCEQUENCE

of an unwaitable situation
making an unfinished music work

1st contact: composer-music ensemble
starting September 24, then October 4, 2025:
[same letter to all music ensemble on Earth]

From: Mathius Shadow-Sky <friends@centrebombe.org>
Date: 24 September 2025, 16:23
To: Ensemble Modern <Info@ensemble-modern.com>
Subject: 1st contact

How to introduce everything?

- Please receive my letter in French and English: pdf in attachment, where I am exposing a part of my musical approach, for you to consider what could be done to create a new way to perform music, with a precise proposition of music creation. - Why 2 versions of the same letter? One in English and the second in French? French is my mother tong, knowing that my English can be misunderstood, because mostly, I am thinking as a French :)

- This 1st contact, between an old (past young promising) composer and an orchestra where both sides survive the political cultural hegemony (1981-2021...), must certainly sounds strange! Because we could know each other a very long time ago!

- Why not simply sending a score? The connection musicians-composer would be easier than sending a long letter!

- I think first, it is essential for everyone to expose my musical approach. about my persistence to continue to renew music creation. This is not easy. In 46 years, nobody really understand the different music I propose. I have written many music, and I have performed a lot of my music creations, and the question is: which one can delight the ensemble?

- But above all, the way I consider music performance through my music game, has nothing to do with usual written score, even the 20th century open scores. So, this long letter is essential to understand what I am creating, and for me where I am today in my music approach in my long career with my music creation in our social context of general regression. I am not, as music creator, interested about 'score execution', but I am interested by a deeper work 'to be able to perform an other way to perform music'. The Ephemerode way?

All the best
Mathius Shadow-Sky

postnotes

* My 28 years old website is the place where I publish most of my works for free: scores, records, books and lot of texts about political cultural war against original art and music creation. My book about music creation, called 'Dans le Ciel, le Bruit de l'Ombre' gather most of my music creations since 1979, and almost everything I know and develop about music theory and composition: the book is still incomplete! The work is huge and it could be done with a group of scholars, especially about the new harmony of the polyscalar theory. There is so many things to say and to do about music creation!

** To understand the reason of 40 years political assault against artists, I wrote several texts analysing the motivations, causes and consequences of what was done to get today our global mediocracy. http://www.centrebombe.org/MatSadRepairesBio.htm#histoiremusique

*** Does in the 21st century, any alive original composers are isolated surviving the mediocracy? During 46 years of music creation, I had never met and exchange with other original composers of my generation and the next one what I extend in music theory and how I have evolved open score with my music game approach. I mean, where are, since 45 years, the connections between original inventive composers to talk about music invention?

**** The neoclassical music invasion, starting at the beginning of the 80s, have replaced avant-garde music, and destroyed original music creation in public places. Neoclassical music became today the only listened 'serious music' (sic). Composers became recomposers: by recomposing 19th century music. Mostly for films to see not to hear. After the music works of so many 20th century composers, like Xenakis and Stockhausen, it sounds a general human kind regression. Does this invasion stopped the Western evolution of written/composed music, started in the 8th century? I am still alive, but unknown (self-publishing my music works for free since 28 years in my website http://centrebombe.org *).

The letter to the London Sinfonietta [pdf, 7 pages, 65Ko]
The letter to the Ensemble Modern [pdf, 7 pages, 65Ko]

October 6, 2025: Response from the Ensemble Modern:

Subject WG: 1st contact
From Ensemble Modern <Info@ensemble-modern.com>
To 'friends@centrebombe.org' <friends@centrebombe.org>
Date 06.10.2025 10:29

Dear Mathius Shadow-Sky,

Thank you for your inquiry.
We have received your request and will get back to you in due course.
Since this review is a lengthy process, we ask for your understanding that it may take a considerable amount of time.

All the best,
Your Ensemble Modern

ENSEMBLE MODERN GbR
Schwedlerstraße 2-4 | D-60314 Frankfurt am Main
Tel: +49-69-943 430-20 | Fax: +49-69-943430-30
info@ensemble-modern.com
www.ensemble-modern.com
Besuchen Sie unseren Konzertkalender.

October 14, 2025: Response from the composer:

Subject Re: WG: 2d contact
From Mathius Shadow-Sky <friends@centrebombe.org>
To Ensemble Modern <Info@ensemble-modern.com>
Date 14.10.2025 15:29 - resent: 23.10.2025 15:57

Dear Eva Böcker, Dear Jaan Bossier, Dear Paul Cannon, Dear Uwe Dierksen, Dear David Haller, Dear Christian Hommel, Dear Megumi Kasakawa, Dear Hermann Kretzschmar, Dear Jagdish Mistry, Dear Thomas Adrian Mittler, Dear Norbert Ommer, Dear Giorgos Panagiotidis, Dear Rainer Römer, Dear Johannes Schwarz, Dear Sava Stoianov, Dear Dietmar Wiesner, Dear Ueli Wiget, Dear Christian Fausch,

Thank you to answer me so fast :)

I understand if: "a considerable amount of time" is necessary to understand my music and music approach, it means that: the Ensemble Modern is very busy the following years, and in addition my music approach should contain a value that has to be considered: thank you :) and I understand it takes time to consider any valuable original music.

But the duration question stays: will you get back to me after or before my death? [it is a humorous question. Humour in my music is an essential matter] considering what amount of "a considerable amount of time" between now and "an uncertain future" to start to create to develop a new way to perform an original music. A fair play musical behaviour I discovered and started 45 years ago. Is it because I was obliged to perform my music myself with others? The need of freedom made me to behave music with the game spirit. This is important, I suppose, to evolve the reason of playing music, especially nowadays!

To grow up a new way to perform music for the next generations of ("augmented") musicians? I am kidding! using the word "augmented", means to transform humans to act like obedient machines (sic). Which it is in total opposition from my music approach: a machine cannot reach to replace the complexity of a human being. This is why my music is mostly human and instrumental searching the impossible rhythms/behaviour the machine cannot perform.

Let me ask you if this "considerable amount of time" does it could pass 20 years? to have a meeting? At 85 years old, will I give up everything in music? It is an important question: because its answer is necessary to be not possessed by a vain desire: knowing that our common music creation would never happen during my life time.

As a 1st step, I propose to come to visit all musicians of the ensemble in Frankfurt, by having a meeting all together, for us to value, what unheard music we can create together or not.

A diner all together in 2030? How does it sound?

All the best
Mathius Shadow-Sky

One month with no serious answer from any one at all.
For sure:
No one can waste his/her time to wait for an answer to start to compose any music.

December 14, 2025: Final response from the Ensemble Modern manager:

Subject Fwd: 1st contact
From Christian Fausch | Ensemble Modern <Fausch@ensemble-modern.com>
To friends@centrebombe.org <friends@centrebombe.org>
Date 14.12.2025 16:00

Dear Mr. Shadow-Sky,

thank you for your inquiry regarding a collaboration with Ensemble Modern.
I am sorry to let you know that we do not see an opportunity to include your works in our planning.
However, we appreciate your interest in Ensemble Modern and wish you the best of luck in your future endeavours.

Best regards,
Christian Fausch
________________________
ENSEMBLE MODERN GbR
Christian Fausch
Künstlerisches Management und Geschäftsführung
Artistic Management and Managing Director
Schwedlerstraße 2-4 | D-60314 Frankfurt am Main
Tel. +49 (0)69 943 430 10 | Fax +49 (0)69 943 430 30
Mobil +49 (0)176 325 80 385
fausch@ensemble-modern.com
www.ensemble-modern.com

January 7, 2026: final response from the composer

Subject Re: Fwd: Cutting the link of the 1st contact?
From Mathius Shadow-Sky <friends@centrebombe.org>
To Christian Fausch | Ensemble Modern <Fausch@ensemble-modern.com>, Ensemble Modern <Info@ensemble-modern.com>
Date 07.01.2026 20:38

Subject: Cutting the link?
From: a composer without any reputation (= fame) or, reputation is useless to build a famous music work, or, reputation comes after the death of the composer, or, reputation cannot exist if the composer cannot be noticed by music lovers for his music work, the one created for humans in societies, not for business, knowing that music lovers disappeared in the 20th century, who are the people in the 21st century who prize the music of the composer to be performed in a public audience? etc.

Dear Eva Böcker, Jaan Bossier, Paul Cannon, Uwe Dierksen, David Haller, Christian Hommel, Megumi Kasakawa, Hermann Kretzschmar, Jagdish Mistry, Thomas Adrian Mittler, Norbert Ommer, Giorgos Panagiotidis, Rainer Römer, Johannes Schwarz, Sava Stoianov, Dietmar Wiesner, Ueli Wiget, and Christian Fausch,

1st: happy new year and best wishes for 2026 :)
2d: notice that this letter, for the music History, is public (by being published):

… (Unvoiced) concerning your answer:

Wow!
I am deeply and profoundly impressed!
How an ensemble of musicians can send such a negative answer to an artist
(= to an experienced inventive original composer)!
It sounds almost impossible!

Why want to cut the link between artists?
Why want to avoid a link between an original composer and an ensemble of musicians?
Without any meeting, without any discussion?
How it comes?
Your answer sounds exactly the same as a response from a state institution employee:
the same formality: a state employee answering to an artist requesting a grant (= public money for public creation).

As a honest music creator,
I received during my 47-year career,
hundreds (thousands?) of negative formal (hypocrite euphemist) answers from state employees and politicians.
This type of answer cannot hide the expression of its contempt.
Knowing that, this is the usual way to get rid of any unwanted composer, with his/her disturbing music creations.

This, as we know, is a trivialized behaviour that sustains war against real creation of art and music.
Cultural War managed by politicians (requested by financial domination from few people hiding).
But, it is the 1st time, I can testify, I receive a concealed order, to avoid empathy, from a group of artists:
A formal state answer from a group of artists to avoid empathy between artists! Hum...?

By sending me your ‘instituted state answer’,
it reveals that no one from the ensemble understood what I sent to everyone!
How is it possible?
That, needs an explanation.
Is it an expression of fear?
Does the Ensemble Modern is corrupted like most of other ensembles ‘to stay live on stage’? (= by grant blackmail?)
Even if music creation is dying since the 80s? (the start of the political war against artists started secretly in 1973).

I thought, as a 65-year-old composer, that the Ensemble Modern is an open mind group of talented musicians.
But, with this type of answer, it is clear that something is wrong.
And my joy to work with a group of talented musicians had disappeared.

Or. Is it a choice for survival, that corrupts the (real present) music creation?
Does the Ensemble Modern is dedicated only to (the past): the sound of ‘20th-century contemporary music’?
Or the Ensemble Modern, like others contemporary music ensembles, forbids itself to perform the music from the present?
[Not mentioning performing ‘advertising music’ for people – music haters – to notice that the ensemble still exists].
To concentrate its activity, and exclusivity, to the music from the 20th century, even if it is written in the 21st century?
Which, in this case, I can understand the rejection from the Ensemble Modern to my music proposition
(But your refusal to meet in 2030 for a dinner in a restaurant in Frankfurt with all musicians, is difficult to understand).
This to refuse to start to perform music ‘with another state of mind and behaviour’,
a one, different from the usual performances governed by an execution with classical scores.

My goal, since the beginning of my composer carrier starting in 1979, I suppose you understood, is to continue the Western tradition to evolve the musical practice with: different techniques, instrumental and compositional: to develop what Cage, Xenakis and Stockhausen started in the 20th century. The polyscalar music theory, the polytrajectophonic (choreosonic) polymorphic instrumental music, and the music game are ones of the solutions to conciliate and to harmonize the general music practice with the present, the one in state of becoming (in opposition of our regression in the past) to surprise our curiosity. Etc. There are so many things to say, about… *

But, between us:
What can I say more?
Only:
To express my deep sadness
about what happened to our music world:
Its degeneration.

Mathius Shadow-Sky

* 1st letter:

With kindness, thank you Christian Fausch seeing you took your Sunday time to send me your standard state negative answer, to avoid to start a meeting with the musicians of the Ensemble Modern in 2030.

I feel sorry for you, seeing you refuse a start of a relationship, not yet a friendship, but more than a ‘collaboration’, to create (maybe) an astonishing original music together. This is the point to contact an ensemble like the Ensemble Modern, I suppose. I understand the Ensemble Modern doesn't need an other composer: 'there are so many'! A purge is necessary.

Your unconcerned formal answer reminds me how institutions, who are supposed to finance public creation, they claim to act as a public institution, sends to every artist (original and talented detected by the institution), proposing an original music creation in a public place, asking subsidies for that, sending a formal general answer ‘to forbid any her/his artistic wishes to exist in public places’, and this, of course, without any explanation: the lack of explanation is the expression of the power of institution: that, in the purpose to humiliate the recipient: for the requesting artist to feel humiliated to feel dominated and above all: ‘not to try again’ (verbatim). This is the (half century) politics to purge the freedom from music and art creation, what any artist needs to create an original art and music work, and what societies and politicians fear, because ‘too much freedom’ makes useless any domination. And makes slave industry obsolete.

Why this kind of letters, without any explanation, or ‘why any request has to be refused’, exists? It exists in our societies because: it has to mark the social domination: this, to cultivate ’to play by the rules the hierarchical game’ to be able to enslave artists and to remove the freedom from artists to make them obedient as craftsmen. Everyone, not thinking, only working, is played by this trivialized behaviour (believing preserving themselves, from what? freedom?). This is how the mediocracy invaded our societies to degenerate people: it is especially obvious in the destroyed music world of creative composers.

Your answer itself is 'a denied aggression', a belief of protection, feeling secure by thinking, but not saying: ‘fuck off’, ‘we don’t need you here’, ‘no aliens artists here’, ‘even if you think your place can be among us’, etc. Does your answer sound limitless as an offence? Yes, it does. All this, because of your general impersonal answer forbids any contact between humans who wish together to create original music. Cultivates the violence in our enslaved societies. Knowing that music is a collective art. Otherwise, it loses its purpose: to generate links between people: the sense of living together held by music. Music for lovers cannot exist in isolation.

I am not begging for a job at Ensemble Modern!
I am not begging for money using the Ensemble Modern!
I am not a young composer begging to be performed by the Ensemble Modern seeking a reputation!
I am too old for that insignificance! I dedicated my life to music creation, and that can be heard in my discography:
http://centrebombe.org/myster_shadow-sky_discography.html

My first long letter is a necessary introduction for: how to rebuild lost links in our music creative world destroyed by political and economic massive purges from the music market (= that war against undesirable artists). Music market almost non-existent for avant-garde music (verbatim). I am not a human being reacted by fear, neither a craftsman writing classical score, to give to orchestras the sense for their (obedient) existence to be financed by subsidies. Hard to figure that Ensemble Modern could be like that.

My attempt to make a connection: between my music approach, who wants to create unheard music (where it sounds now here no where else), and a music ensemble, with ‘a reputation of open mind and abilities to perform any music, even unheard and trans-genre music’, failed? And because of what? Is it because the ensemble does not fit any more with (the real) present music creation? Like all other (old) over reputed contemporary music ensembles: Ensemble Intercontemporain, London Sinfonietta, Les Percussions de Strasbourg, etc.? Granted music ensembles ‘that made contemporary music becoming classical music’, to be permitted to perform the 20th century contemporary avant-garde music (reduced as historical curiosities) in public audience, in the 21st century?

My attempt to create a (concerned) connection between my music approach and an open mind music ensemble
is first: to create a link.
A link to reveal if it is possible or necessary or not.
A dinner, all together, sounds to be a good start to figure it out.

Your refusal Christian Fausch sounds like the Ensemble Modern cut every link of possible friendships among musicians in the creative (destroyed) music world. Which means that Ensemble Modern is not any more tuned or synchronized with original music from the present?

Being 65 years old, I am not, for sure, a contemporary (classical) music composer, like was most of my older colleagues in the 20th century. And. I am alone in our post-contemporary generation. ‘Contemporary music’ in the 21st century has the sense only to join the economic classical music world, the one starting in the 19th century (where baroque music is not allowed).

Today it is obvious that since the 80s (starting progressively in 1973, after 1968), the contextual music world has changed: the world became hostile against the independent (= disobedient) next generations of original artists. A growing up general (public) hostility to erase all original music works from the public domain. And here it is: original unknown music is banished from all concert halls around the world. I had to manage all my career with that global hostility against my music creation. Until now: facing 'wild hordes of civilized destructors'.

There is something sick who grew up inside the people's state of minds, by holding the music from the past (who passed away) in the present, and still maintained alive to suffocate to any music work from the present. Where the present is erased from all consciousness. A willing act that forbids to listen to unheard present music, made by the unknown new generation of music creators. A composer, in the 21st century, for people, is a person who reproduces what it has to be sounded in audience by obedience. And in consequences: all not ‘classical contemporary composers’ are purged from the public domain. It is what happened at IRCAM in 1984.

The wave of our historical regression of our music creation was noticed (quite late) by people from the oldest festival of avant-garde music: Donaueschinger Musiktage, saying: ‘Das Ende der Musik’ in 1996 ** a documentary produced by the Südwest Rundfunk: found the ‘accomplices of silence’, and even composers, agreed with that regression, cultivating this regression by recomposing in the 20th (and 21st centuries), 19th-century classical romantic music. A premiere in the Western history of music! Is it an avant-garde approach? Like claims a German composer twisting the ideas about music creation, for him to feel secure in his betrayal of the Western music composition?

** article about: http://centrebombe.org/MatSadRepairesBio.htm#dasendedermusik

By refusing any exchange between artists,
it certainly sustains the desolation of the creative music world.
Besides: ‘Luck’ has nothing to do with original music creation!
So, yes, according to this cultural ravages, Christian Fausch,
Your answer is limitless an offence.
With personally not being offended: I am too old for that!

But what is this really about? How to understand my behaviour as a music creator?
My musical approach and intentions, in our destroyed music world is: to reborn a true creation.

And what it matters to do when the music cannot be created together?
It matters to write about it
for the next generation
to give them to understand why original music couldn’t be created in the 21st century. ***

*** What matters to do? when music creation with every one cannot be turned to reality?
http://centrebombe.org/MatSadRepairesBio.htm#musiccreationsthatcannotbeturnedtoreality

And please Christian Fausch, don't do that again: stop your formal answers to composers you do not know, even Sunday, to any request you receive regarding the Ensemble Modern that bother you. Just be sincere. Telling the truth will not humiliate the recipient, and will not make think the Ensemble Modern like others betrayed the cause of music creation.

With sadness,
All the best

Mathius Shadow-Sky

.

CASE CLOSED

.

This music: 'NICE PEOPLE or how air vibrates' is postponed, for now.
This, is due to a lack of concern from the 2 ensemble:
the London Sinfonietta and the Ensemble Modern.

For the record,
For every ones else who wish to evaluate my music proposition
- by explaining my music approach -,
Here is the same letter that can be read
By any ensemble of musicians who wish to built an original music
with me:

The letter to the London Sinfonietta [pdf, 7 pages, 65Ko]
The letter to the Ensemble Modern [pdf, 7 pages, 65Ko]

Sans réponse franche de travailler ensemble une nouvelle manière de jouer et créer la musique :
Silence du London Sinfonietta ! Et réponse négative de l'Ensemble Moderne !
Ne pouvant me formaliser des refus de contact des orchestres de musique contemporaine,
Et pouvoir poursuivre mes propositions compositionelles hos-norme (il faut le dire),
Je dois encore trouver une autre manière de créer
pour donner à entendre ma musique vivante (non passéiste) :

En voici une qui me turlupine depuis très longtemps : écrire des « partitions puzzle »
      pour orchestre de 1 à 100 musiciens,
      jouant d'instruments de musique hybrides,
      sur la base de l'harmonie polyscalaire nonoctaviante,
      avec leurs sons qui valdinguent en rythme et en figures polymorphées dans l'espace total.
      Cette valdinguerie spatiale porte le nom de : choréosonie ou choréophonie. *

Notes
* Le sens du suffixe -chore désigne l'espace et l'espacement ou la dissémination (le fait de répandre en divers points éloignés dans un espace très étendu, au-delà de l'horizon). Le sens du préfixe choré- vient du grec « khoreia » pour signifier la danse. La voltige est-ce de la danse ? Danser en l'air ou sur le sol de la Terre où l'un demande des ailes et l'autre demande des jambes.
Synonyme, la polytrajectophonie respire l'espace avec la dissémination (la dispersion) et l'amassement (réaliser un amas : une accumulation sans ordre détecté de divers objets de toutes provenances) vers la centration (pour se coller par la réunion du regroupement) ; et ça, c'est la forme de l'explosion (de l'intérieur vers l'extérieur) et de l'implosion (de l'extérieur vers l'intérieur) de la soudaineté au ralenti tel que le mouvement est imperceptible.

Même lettre pour tous les ensembles de musiciens sur Terre :

Lettre au London Sinfonietta [pdf, 8 pages, 72Ko]
Lettre à l'Ensemble Modern [pdf, 8 pages, 72Ko]

...

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