Morton Feldman once described his monumental Triadic Memories as “the biggest butterfly in captivity.” My lovely wife Marilyn Nonken recorded it several years ago for Mode Records, so it seemed appropriate for the Washington Post‘s to ask her for her opinion on what Feldman’s music might mean to us during the current scare, when we’re all in some kind of captivity:
For Nonken, the power of Feldman’s music comes from the tension he generates between regularity and instability (sound familiar?), and his reluctance to suggest narrative through “artificial resolution.”
“The drama,” she says over Zoom, “is how is that instability going to manifest itself? When is it going to rupture? How is it going to rupture?” Indeed, you can be 80 minutes into a Feldman piece before something happens, in the traditional sense of things happening. Nonken compares the journey to a long hike that ends at a grand vista. …
“The monotony of these days,” Nonken says, “day in and day out, there’s a repetitiveness. We’re waiting for something to happen and we’re not quite sure what it is. Small details take on incredible significance.”
Mode will release her and Stephen Marotto’s performance of Feldman’s Patterns in a Chromatic Field later this year. In the meantime, you can read all of the Washington Post story — which also includes interviews with Marotto and other seasoned Feldman aficianadoes — here.