I .

Arnold Mario Dall'O . Angels . Video

Angels (2000) 

arbeit für zwei projektionsflächen

II.

Ensemble Recherche . Morton Feldman Projekt > Italian première

Melise Mellinger > violin

Barbara Maurer > viola

Lucas Fels > violoncello

Martin Fahlenbock > flute

Klaus Steffes Holländer > piano

Christian Dierstein > percussion

Film . MoMa – Museum of Modern Art New York

Little Bit . Armin Leoni

Morton Feldman

The Viola in my Life 1

For A. Copland

Piece for Violin and Piano

Extension 5

Two Pieces for Cello and Piano

Sonata for Violin and Piano

Jackson Pollock . Film Hans Namuth

De Kooning . Film Hans Namuth

Two Instruments

Why Patterns

Morton Feldman’s art is a continuous shift between intervention and breach; it is situated in a border area between ontology and psychology of consciousness. His virtuosic style is strongly influenced by American abstract impressionism and eludes any form of systematic conceptual analysis. As if a time screen was painted with sounds – on the threshold of acoustic perception. To Feldman, music just means music, but in composition he sees a try of approaching consciousness and a way how to transcend it. To Feldman’s collaboration on a documentary about Pollock – which was directed by Hans Namuth together with Paul Falkenberg in 1950 – we owe Pollock’s rejection of the foreseen gamelan sound and John Cage, who refused to compose the music for the film and suggested Feldman instead. The film was screened in June 1951 in the Museum of Modern Art in New York and for Feldman it was both an entry into art world and a confirmation of the musical orientation. For two years, Feldman had been assigned with the task of composing the music for the film on Willem de Koonig by Namuth. Thus, the composer wrote an appropriate commentary on the film, which didn’t need the image for its effect: a study on the comparison of precisely coordinated chords and arbitrarily succeeding individual sounds for horn, drums, piano, violin and violoncello that was published by Feldman by contrast to the cello-duo of the first film.

Raoul Mörchen and Peter Niklas Wilson