In the article Feldman brings up the discussion of the derivation of art. Of course, all artists are influenced by all the developments across the genres of art up to the present, but certain artists were more original than others. Originality for its own sake is not artful, but new developments revealing some new realm of greatness certainly are important steps of "progress." And many associated with the New York school were, in fact, incredibly original. Cage, Feldman, Pollock, Rothko, Newmann, all pioneered new dimensions of moving expression. Unfortunately for Feldman, with fame comes the analytical microscope, and he rejects any need to justify his work by historical or cultural context in favor of an admirable desire of self-expression. He wrote what he did because that was who he was. But while he does not need to justify his ideas, Feldman should acknowledge his place in the cultural context; Mallarme and Kafka might indeed shed some light on the circumstances that created Feldman the person, who in turn created these quiet sounds.
Regarding an academic appointment, Feldman never fit the mold and should not be surprised he was not scooped up by the conservative institutional establishment.
Morton Feldman is unquestionably the composer of the twentieth century most interested in color and this dimension forms the primary point of interest in his music for me. Like his mentor Varese, Feldman sought to let the audience experience the raw qualities of sound. Feldman took his mentor's sound sculpting to a whole new level in outrageously sparse textures.
The King of Denmark is an especially explicit exploration of timbre, as that is really all there is. Patiently unfolding, Feldman lets sounds unfold in space, carefully arranged to make an impact on the listener. To me, Feldman is unleashing the expressive power of timbre, savoring the unique color of each instrument in a spiritual experience. This work is captivating and I am on the edge of my seat waiting for the next color to wash over me, and it teaches me to quiet my mind and be patient. A multi-percussion instrumentation is the ideal vehicle for Feldman's expression-- the visual element adds an additional dimension.
To me, piece for four pianos is less successful in my mind because there are so few timbres.
Feldman's Rothko's Chapel is an especially profound and reflective work. Feldman's patient and sparse style seems especially appropriate for an elegy. The silences in this piece are so much a part of the suffering and struggle being expressed. Sparse chords and dissonant splashes are punctuated by agonizing silences. I can see Rothko's hazy floating fogs of color in the choir's wordless dissonance.
There is a magical moment at the end when the viola plays a lamenting song with shocking lyricism, sounding vaguely Jewish, modal, happy, and sad. Perhaps Feldman is recomposing a funeral service. The tortured dissonances and silences of the piece have been resolved as Feldman turns spiritually upward.
I watched the end of this performance several times, transfixed by the way in which the agonizing soprano notes hanging in the air pass into the hazy fog of vocal dissonance, giving way to the vibraphone and viola lament. Twenty-four minutes into the work, this relief is totally revelatory and spiritual; Feldman's good friend is allowed to release the pains of this world, lays in peace with his ancestors, and ascends in the mist.
According to Cage, he and Feldman met in the lobby during a Carnegie Hall performance by the New York Philharmonic while the two were avoiding a performance of Rachmaninov's Symphonic Dances. Sounds right.
I have only experienced one performance of Feldman, and this was last year by a chamber ensemble. Really, my only response was boredom, probably because I was not receiving the experience I was expecting. His music is very patient and requires the listener to reflect and experience the quiet colors as sound.
