Belgian pianist Jean-Philippe
Collard-Neven and I are planning to present concerts during which
we will explore various aspects of the trance.
Adams' Phrygian Gates,
Giacinto Scelsi's Suite
for piano #9 ("Ttai") and Morton Feldman's Palais
de Mari are amongst the pieces we will work with during those
live performances, Jean-Philippe will also improvise.
This is fascinating material to explore, so far from "entertainment,"
needing time to enter into (sure to keep the "mad-zappers" unsatisfied),
so apparently bare, it brings one back to oneself, it almost forces us
"... to arrive where we started, and know the place for the first
time" (T.S. Eliot, Little GIdding, Four Quartets).
Mortron Feldman and I share something special: we both worked at the New
York Studio School of Drawing, Painting and Sculpture, he from about
1968 to 1973, I from 1978 to 1984.
was before the time when the school became a degree-granting institution,
possibly losing much in the process.
If I then met John Cage several times while in NY, I unfortunately never
met Feldman, and if I already much admired their work and thoughts about
work then, I do so even more now.