M. Feldman - Intersection 3 (w/score) 1953

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5 жыл бұрын

Morton Feldman (1926-1987), composed in 1953, for solo piano.
Frank Denyer - piano
This work is in a particular form of graph notation. In this case notes do not necessarily have to commence right at the beginning of a notated duration but are free to enter anywhere so long as they precisely as shown: "... things had to come in a certain time span. Now it didn't have to come axactly in the beginning of the time span, and as you know it can come anywhere, like crossing a street, that's why I called them Intersection, to me time was the distance, metaphorically, between a green light and a red light."

Пікірлер: 7

@samuel_andreyev 4 жыл бұрын

Amazing performance!

@chaizacharyyy3832 Жыл бұрын

Taylor Swift could never

@LittleLazyHawk 4 жыл бұрын

Beautiful!

@jojoris2 3 жыл бұрын

The function of the performer in the case of the Intersection 3 is that of a photographer who on obtaining a camera uses it to take a picture. The composition permits an infinite number of these, and, not being mechanically constructed, it will not wear out. It can only suffer disuse or loss. How is the performer to perform the Intersection 3? He may do this in an organized way which may be subjected successfully to analysis. Or he may perform his function of photographer in a way which is not consciously organized (and therefore not subject to analysis)- either arbitrarily, feeling his way, following the dictates of his ego; or more or less unknowingly, by going inwards with reference to the structure of his mind to a point in dreams, following, as in automatic writing, the dictates of his subconscious mind; or to a point in the collective unconsciousness of Jungian pyschoanalysis, following the inclinations of the species and doing something of more or less universal interest to human beings; or to the ' deep sleep" of Indian mental practice-the Ground of Meister Eckhart-identifying there with no matter what eventuality. Or he may perform his function of photographer arbitrarily, by going outwards with reference to the structure of his mind to the point of sense perception, following his taste; or more or less unknowingly by employ- ing some operation exterior to his mind: tables of random numbers, following the scientific interest in probability; or chance operations, identifying there with no matter what eventuality. -John Cage