The fact that this piece was repeated only a few times was due to the enormous, actually unperformable complexity of the choreography which was constructed by chance operations. Cunningham commented about it: "There were classic ballet steps, arranged in a chance order, and it was impossible, i couldn't. You're supposed to, without preparations four pirouettes, suddenly. There was one day when I was working in the studio when I found a way to do it, but I could never do it again, i just couldn't hold. 6) For this reason the score disappeared into the archive of the merce cunningham Dance company and was probably, just as with the nature pieces, not performed again during the past forty years. Notes content * * two short pieces from the piano cycle. Intermissions, written between 19, had a similar fate. When Morton Feldman signed a contract with New York music publishers.
Alex Ross: The rest Is noise: Morton, feldman essay
Notes content * * also intended for a solo dance, feldman composed the. Variations in 1951 for Merce cunningham. In this piano piece, feldman's typical style of the early fifties is fully developed for the first time: the dynamics are to be held fashion down "as softly as possible sometimes extremely long general pauses short give the brief single happenings enough space to continue sounding, and. These aggregates appear in various combinations, in different rhythmic models which are often repeated. In this way, time seems to stand still. In place of developments, feldman makes changing conditions. And the extended pauses leave any feeling of a defined meter as blurred. The start of the sounds becomes, even with rhythmically precise repetition (such as the four-tone chord sounding six times in the middle of the piece) unpredictable. Feldman completed the score on March 24, 1951, in time for the guest appearance of Cunningham and Cage at the University of Washington in seattle. It was there that the two recipients of its dedication had brought dance (with the title "Variation" sic) and music to be performed for the first time.
Again and again, especially noticeable at the end, feldman establishes one- and two-tone models which he repeats, generally separated by long pauses, in rhythmic shifts. This procedure is also used.3, although here with up to five-tone models. The resting-tone passage of the middle part takes up the quiet chordal structure.2, also with a major seventh and minor ninth as the characteristic framework interval. In addition, both pieces leave the dynamic thesis uniformity.1 which reappears in the parallel piece.4 with its simple scale segments. Simple swinging models are repeated here up to four times-also a procedure typical of the mature feldman. No.5, on the other hand, with its Webern-like springing chords, reminds one of the Illusions from 1948. Its total range is again a major seventh, here spread over three octaves, while this framework interval is always present by frequent appearance of the outer notes. The repetition of the entire piece finally brings about a formal unity.
Notes content * * as the film music for Jackson Pollock, the. Nature pieces for piano also combine elements of Feldman's youth with those that left their mark on the musical language of the mature composer. The score, which has remained unpublished up to now, is dated 1951 and had its premiere performance on January 18, 1952 as accompaniment to jean Erdman's choreography Changing Woman by david Tudor at Hunter College in New York. The program for the events indicates a three-part solo:. Forest voice, wind voice, brook voice, earth voice. Sea voice, desert voice. The distribution of these segments into the five piano pieces with roman numerals on the top of each remains unclear. Only the third piece suggests a three-part division, while the others stay in one character. The soft arpeggio with wide intervals.1 uses a restricted amount of notes, from which the repeated appearance of central notes becomes apparent.
Morton, feldman, papers, at the State
I lost contact with my first painting on glass, and I started another one." (Jackson Pollock, 1951. Then the music begins, a rising major seventh, a tone held in high register, roughened up by two pizzicatos with the minor seventh, immediately repeated, far extended dissonant intervals-characteristic models for Feldman's work of the fifties which here, however, follow each other in an unusually. On camera, the drawn out picture summertime files past, followed by pollock hanging the painting on the wall at the betty parson Gallery. With the repeated glissando of a third, the view widens towards the gallery rooms where pollock's wife walks around as a visitor. Namuth was filled with the desire to film Pollock through a growing painting.
Therefore, they erected a glass plate, under which Namuth placed himself with the camera while pollock painted above-using, in addition to color, also fragments of a metal fabric, glass pearls, shells and string. With this new medium-Pollock explained briefly that pfeffer this was his first painting on glass-a new figure began in the music, the fast fluctuating between a minor second and a ninth in pizzicato at a very high pitch. As in a rondo, it appears four times business before flageolet resting sounds appear together with the second glass picture. Towards the end dissonant pizzicato chords thicken which only establish a steady meter in the final credits. The film was not very successful at its first showing in the museum of Modern Art on June 14, 1951, and the pollocks themselves had mixed feelings about having the intimate creative process of the painter made public. Pollock thoughts on Feldman's music was that "it might be great 5). It was only after the death of the protagonists in 1956 that the film Jackson Pollock and the photos of Hans Namuth would have their triumphal success as unique documents which do not at all expose pollock's method of working, but rather describe it with.
This way i can walk around it, work from all sides and be in the painting, similar to the Indian sand painters in the west. Sometimes i use a brush, but often prefer using a stick. Sometimes I pour the paint straight out of the can. I like to use a dripping, fluid paint. I also use sand, broken glass, pebbles, string, nails or other foreign matter. The method of painting is the natural growth out of a need.
I want to express my feelings rather than illustrate them. Technique is just a means of arriving at a statement. When i am painting I have a general notion as to what i am about. I can control the flow of the paint; there is no accident, just as there is no beginning and no end. Sometimes I lose a painting. But I have no fear of changes, of destroying the image, because a painting has a life of its own. I kind of let it live. This is the first time i am using glass as a medium.
Delio school of Music
He was a strong personality to react against. This was in 1929. I don't work from drawings or color sketches. My painting is direct. I usually paint on the floor. I enjoy working on large father's canvas. I feel more at home, more at ease in a big area. Having a canvas on the floor, i feel nearer, more a part of a painting.
For this sequence, feldman used industry an organ point of a major seventh, over which an artificial flageolet in the interval of a major third plays a glissando up and down. In this way, the viewer is acquainted within a few seconds to the visual and acoustical material which will follow for the next ten minutes. Pictures of the process of painting and of music await the viewer, determined by these characteristic intervals and the tension between the organ point and movement. After the title one sees how Pollock creates a canvas by lying on the floor. You hear his voice off-screen which makes a brief statement that is joined together by namuth and Falkenberg from the few texts published by him(4 "My home is in Springs, east Hampton, long Island. I was born in Cody, wyoming, thirty-nine years ago. In New York i spent two years at the Art Students league with Tom Benton.
the use of lamps, which is the reason the film was shot outdoors.(2). Falkenberg initially mixed in a soundtrack from recordings of Indonesian gamelan music for the ten-minute film. However, pollock declared, after the first private show: "But, paul, this is exotic music. I am an American painter! 3) That is why they turned, at the suggestion of Pollock's wife lee krasner, to the young Feldman to create the music for the soundtrack. He proposed to use a solo cello. Falkenberg asked for two parts, which presumably were both recorded in may 1951 by cellist Daniel Stern using the multi-track process. The session was engineered by peter Bartok. At the beginning of the film, pollock writes his signature over the screen.
But Hans Namuth, too, was to become better known only that year. The photographer and paper film maker had left Germany at the age of 17 for political reasons, moving to paris and then emigrating to the. During the Spanish civil war. His teacher at the new School for Social Research, Alexey brodovitch, strengthened his interest in Jackson Pollock. In July 1950, the first encounter between the painter and the photographer occurred. Surprisingly, the reserved Pollock quickly took him into his confidence, and finally namuth came every weekend during that summer from Walter Mill to Springs in East Hampton, where pollock had made his studio in a barn. The physical motion, how Pollock spread, dripped and poured the paint on the canvases placed all over the floor, soon left Namuth with the desire to document it on film.
The wire Shop - the wire Primers ed Rob young
Feldman - first recordings (cd booklet, English) "They came to audition me, lee (Krasner Pollock) having scouted me out, an unknown composer. John Cage was there, and I scored for the film as I would for choreography. It was the beginning of my life, really; I hadn't had entree and now people were talking about. For Morton Feldman at the age of 25 in paper 1951, the commission to compose the music for the film of the artist Jackson Pollock by hans Namuth and paul Falkenberg offered indeed a welcome opportunity to introduce himself to the new York art world. Of course, the pupil of Stefan Wolpe who had become a friend of John Cage in 1949 had already attentively followed the development of Abstract Expressionism; but up to then only a few of his compositions had been performed. In 1950, the pianist and friend david Tudor had given the premiere of Illusions in New York, a work from his youth dated 1948 (available on mode 54 and in 1951 the 4 Songs to mmings followed. Feldman was indeed an unknown composer.