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?
Triadic memory #3: A figure in memory Read More »
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.
How I happened upon the Happenings Read More »
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.
What happened at the Happenings Read More »
The history of how the Cage/Feldman “Radio Happenings” came to be recorded at WBAI, under the direction of Ann McMillan
How the Happenings happened Read More »
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 Happenings keep happening Read More »
The manuscript score and early performances reveal an alternative interpretation of a persistent rhythm in Triadic Memories
A question about rhythm in Triadic Memories Read More »
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.
Hand-made music: Feldman’s scores Read More »
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.
Written and directed by Richard Karpen Read More »
Last year I spent a good deal of time listening to Morton Feldman’s music, trying to get a picture of his entire body of work. I started with the works of the early 1950s and marched forward through the 1960s and 1970s. When I got to 1983, I faced the need to listen to Feldman’s String quartet No. 2, his famous six-hour string quartet, the longest work of a composer who wrote many long works. How do you listen to a six-hour string quartet?
How do you listen to a six-hour string quartet? Read More »
