Triadic memories, like all late Feldman, is a series of repeated patterns, musical images that are extended in time by repetition. In some pieces these repetitions are of larger chunks of music, with a system, set of systems, or even pages of music reappearing, often with permutations. I’ve always thought of these larger-scale repetitions in terms of the whole pattern: pitch and rhythm together. Playing through Triadic memories, I’ve become aware of them rhythmically, repeating even as the pitches are moved around.
There is a figure that appears about a third of the way into Triadic memories. It catches my attention, wakes me up: it is a signal that something is changing. Where are we going now? And haven’t I heard this before somewhere?
For me, there is a more personal history of the Radio Happenings: the story of how they came to light and were preserved. It all happened because of procrastination and the pre-Internet digital social world of Bulletin Board Services in New York City. It was a rare musicological adventure.
In this installment of my series on the Cage-Feldman “Radio happenings”, I describe where Cage and Feldman were in their lives at the time of the recordings, and present highlights of their conversations.
The history of how the Cage/Feldman “Radio Happenings” came to be recorded at WBAI, under the direction of Ann McMillan
Introducing a series of posts telling the missing story of the Cage/Feldman “Radio Happenings” of 1966-67, a series of broadcasts that has been getting more and more attention on the web.
The manuscript score and early performances reveal an alternative interpretation of a persistent rhythm in Triadic Memories
To start on Feldman’s “Triadic memories”, I knew I needed to get a new copy of the score, but what I really wanted was a facsimile of the manuscript. Here’s how to get these scores and why I prefer them to the newer computer-typeset ones.
Recently I’ve had a very engaging e-correspondence with pianist Adam Tendler about Morton Feldman, memory, and memorizing Feldman.
My good friend Richard Karpen recently asked me to write the notes for an upcoming NEUMA Records release of two of his compositions: Elliptic (Strandlines II) and Aperture II.