Morton Feldman, King of Denmark (1964)
Morton Feldman (1926 - 1987) was a major figure in 20th-century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown.
"King of Denmark is a very short work for Feldman, lasting only six minutes. This study in instrumental color is notated graphically where a three-part grid, indicating high, medium and low pitches, is peppered with numbers, letters, and symbols representing instruments and articulations. Instrument choice is almost entirely left up to the performer. The piece remains very quiet and no sticks or mallets, only the performer’s hands, fingers or arms can be used" (by Samuel Solomon)
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https://youtu.be/dBEbr_cgEbM
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King of Denmark uses non-traditional notation, making use of a timeline of columns of boxes three-high. Each box represents a beat at a tempo between 66-92 beats per minute. Each box is filled with a particular indication of the instrument, a number of notes, and relative pitch. Indictions written high on the timeline are high sounds while lower positions show low sounds. The piece exemplifies the characterization of his music as pointillist, making use of individual musical moments and silence as a musical element. Feldman requires the unique task of performing the piece entirely without implements and only with human flesh (fingers, arms, etc.). These “implements” produce a wide variety of gradations of sound and attack qualities. This use of human flesh and intimacy with the instruments is reflective of the art of Jackson Pollack and others who put themselves into their art. Steven Schick says the Feldman sought to focus on the decay of the sound and not the attack, stating, “What we hear is the attach, but not the sound. …(Decay)…expresses where the sound exists in our hearing—leaving us rather than coming toward us.” (Feldman)
Morton Feldman (1926 - 1987) was a major figure in 20th-century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown.
"King of Denmark is a very short work for Feldman, lasting only six minutes. This study in instrumental color is notated graphically where a three-part grid, indicating high, medium and low pitches, is peppered with numbers, letters, and symbols representing instruments and articulations. Instrument choice is almost entirely left up to the performer. The piece remains very quiet and no sticks or mallets, only the performer’s hands, fingers or arms can be used" (by Samuel Solomon)
-
https://youtu.be/dBEbr_cgEbM
-
King of Denmark uses non-traditional notation, making use of a timeline of columns of boxes three-high. Each box represents a beat at a tempo between 66-92 beats per minute. Each box is filled with a particular indication of the instrument, a number of notes, and relative pitch. Indictions written high on the timeline are high sounds while lower positions show low sounds. The piece exemplifies the characterization of his music as pointillist, making use of individual musical moments and silence as a musical element. Feldman requires the unique task of performing the piece entirely without implements and only with human flesh (fingers, arms, etc.). These “implements” produce a wide variety of gradations of sound and attack qualities. This use of human flesh and intimacy with the instruments is reflective of the art of Jackson Pollack and others who put themselves into their art. Steven Schick says the Feldman sought to focus on the decay of the sound and not the attack, stating, “What we hear is the attach, but not the sound. …(Decay)…expresses where the sound exists in our hearing—leaving us rather than coming toward us.” (Feldman)
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Эту запись оставил(а) на своей стене Алексей Дурнев
