Variations Two Intermissions 1 Two Intermissions 2 Intermission 3 Intermission 4 Intersection 2 Three Pieces for Piano 1 Three Pieces for Piano 2 Three Pieces for Piano 3 Piano Piece Piano Piece A Piano Piece B Intermission 6 - first version Intermission 5 Intermission 6 - second version Extensions 3 Music for the film 'Sculpture by Lipton' 1 Music for the film 'Sculpture by Lipton' 2 Intersection 3 Vertical Thoughts 4 Figure of Memory Views Read Edit View history.
Help Community portal Recent changes Upload file. Download as PDF Printable version. Great musicians Anton Rubinstein : The Ball, op. Peter Breiner b. John Rutter b. Composed for Florian Ross b. The sound that seems to come from nowhere, the sound that hovers and then slowly fades. Up until then, everything was red light. It was okay to produce this slow, still, quiet stuff. They were only interested in how the music was composed as they rehashed the grammar, the syntax and the punctuation.
The avant-garde were trying to turn sound into a thing rather than a process. In New York, the bad-boy outsiders were listening, really listening, to individual sounds and the way that sounds naturally combine and collide without any interference from composers.
The writers, the painters and the composers in New York just got on with it, and what they made had little to do with what had gone before. The idea of the single sound has echoed down the decades from the s. Perhaps the most striking thing about this piece is that, in the pages that comprise the score, no two passages bear the same time signature!
It doesn't matter whether there is a notated silence, a cluster of short chords on the celeste or piano, or a single note or two spaced within the same measure; each passage, by nature of its place in stretching the notion of time itself, is given an identity so unique that it appears as whole and disappears as fragment when the next passage begins. Proportion is everything in this work, and the players seem to understand this implicitly.
Each note is precise in pitch and timbre; each is played without a hint of the enormous tension in the score. At no time is the strident pursuit of the score's demands relaxed. Feldman has created an "abstraction of exactitude" in this homage to his friend, which is exactly the manner in which Guston the artist extracted everything from himself.
Silence plays its usual pivotal role here, not as ether to emerge from, but as the platform to which all notes are held in the end. They emerge from and add immeasurably to the previous silence, as a meditator's breath disappears into the universal stream of emptiness and becomes one with it.S.E.M. Ensemble was founded in when Petr Kotik organized a group of musicians of the fellows at the Center of the Creative and Performing Arts, SUNY/Buffalo. The first S.E.M. Ensemble concert was presented in April of that year in Buffalo at the Domus Theater in the former showroom of the Pierce-Arrow car manufacturer.