| Notice (en) : |
(…) One of the most remarkable pieces (…) is “Structures for String Quartet” (1951). It is a classical string quartet without sonata development, without serieal develoment in general without benefit of clergy. Like Emily Dickinson’s best poems, it does not seem to be what it is until all questions of “seeming” have disappeared in its own projection. Its form reveals itself after its meaning is revealed, as Dickinson’s passion ingnores her dazzling technique. As with several other Feldman pieces, if you cannot hear “Structures”, I doubt that studying the score would be a help, though it is a thouroughly notated field of dynamic incident, whose vertical elements are linked through some sort of shy contrapuntal stimulation of great delicacy and tautness. Frank O’Hara(quoted from: Morton Feldman Essays: edited by Walter Zimmermann beginners press, Cologne 1985) |