1. Morton Feldman - Performance as a principle
Feldman - crucially influenced by the New Yorker group of artists around
John Cage, Merce Cunningham and David Tudor - is about hermetic works
of music/art, refusing and therefore relieved of any kind of tradition
Especially the performance practice of Feldman's works
is marked with hermetically pure "abstinence". These important points
of approach should be developed into an open transfer of thoughts being
the centre of modern day reception of Feldman. Points of query and trial
are a prospective new approach to programmatic and performance aesthetics
of Morton Feldman's works.
2. Feldman: Interfaces and contexts
The quality of the interpretation and reception of Feldman lies in the
development of programmatic models and their ties with the artistic subtext
of his works. It is now a question of developing new models of combining
the arts, to let the roots and artistic potentials, as we experience
them today, grow at the interfaces of the fine arts, film, video, literature,
theatre and dance.
3. Performance and reception
A refreshing Feldman music dramaturgy must point at both traditional
and new music material on the other hand and open up to alternative interpretative
and receptive possibilities in its programme.
With that Feldman's music
is to be rescued from the fencing-in of receptive rituals of the new music
scene and its performance practice.
examples could be
Feldman + ancient(s)...
|| Feldman + minimal music contemporaries
|| Feldman + students
4. Feldman: programmatic models
The quality of such an
examination of Feldman will lie in developing and trying out programmatic
models "between the arts". Centred in this
is putting specific models of performance, for example sound installations,
sound art, a concert edifice as an edifice concert , work
of art to art of environment into action which
is related to this topic.
The new aims and objectives of the Feldman programme
start at exactly the point where the interaction of the composer with
other artists has been exemplary.
5. Performative turns
The theoretical, scientific debate "Feldman
at the interface to a performative
change in the arts" is supposed to be a central part of the project
FELDMAN inter ... This debate goes back firstly to changes
in the compositional creation, secondly it refers to the situation
of performance and the acts of interpretation of Feldman's music. Opposing
their traditional roles the interpreters will be de-individualised,
although being required to make many independent decisions, eventually
seen "only" as producers of an acoustic final product. The third level
refers to a challenge of the subjective perception and receptiveness
of the audience.
6. An opus as a process
Contemporary art has said farewell to handed down aesthetic terms
and ideas. In Feldman's works a new dimension has been won with performativeness
through performance quality and his oeuvre marks a crucial turning point
in performance aesthetics.
A translation of models of performance into
action along the lines of this "performative" debate can create progressing
aesthetic experiences at the music/voice, speech/word, visualisation/image
7. Crossing borders
Morton Feldman's works will be a central, but not single starting and
finishing point for experiencing the crossing of borders and multiple
8. Network perspectives
The project cycle should be designed to unify different modules
of programme and production coming from various institutions/groups/houses
in Berlin, Germany and participating European countries.
units' network consists of developing artistic visions with single collaborators
using exciting places and spaces.
Every signatory can develop their own
propositions in a paper - to be posted until 30. April 2005 to the address email@example.com -
of how they would like to participate in this network and possibly point
out further perspectives for the project FELDMAN inter ...(refering
to content, organisation, structure).
musikakzente 21, Berlin
Dr. Christa Brüstle
Dr. Christian Saalfrank
musikakzente 21, Berlin
Dr. Thomas Wohlfahrt
Mag. Markus Wintersberger
Universität für angewandte
Composer, Universität der Künste
Berlin, March 5th, 2005
Translation: Anna Prohaska