Morton Feldman Interviewed by Charles Shere, July, 1967 @thehouseofhiddenknowledge

Uploaded February 2016 | Updated September 2026, 1 week ago

Recording Date: 7/1/1967

This wide ranging, literate, and always fascinating conversation between composer Morton Feldman and writer/composer/journalist (and former KPFA music director) Charles Shere touches on the work of various composers, performers, artists, and writers. Feldman talks about ways of composing, including his own, and to what degree a composer is "on the make" with regard to his audience.

The composers Feldman and Shere discuss include John Cage, Christian Wolff, Arnold Schoenberg, Anton Webern, Karlheinz Stockhausen, Olivier Messiaen, Pierre Boulez, Luciano Berio, and Milton Babbitt. Surprisingly, Feldman admits to admiring Babbitt, and wishes that he himself could write serialized music freehand, like Babbitt.

Is it true that music will always have a great past, but never a great future? Is Feldman's music limited because he doesn't believe in Hegel? Discover the answers in this fascinating conversation.

Morton Feldman Interviewed by Charles Shere, July, 1967

Marcel DUCHAMP: Erratum Musical (for three voices)

Alan Hovhaness: Speaking of Music, Part II (Oct 3, 1989)

John Cage Considered: An Introduction (March 22, 1965)

$Gustav Mahler: Symphony No. 9 Gustav Mahler’s Symphony No. 9, composed between 1908 and 1909, stands as his final completed symphonic work, serving as a deeply moving, bittersweet farewell to the world that directly confronts themes of mortality and heartbreak. Breaking traditional symphonic structure, it opens and closes with profound, expansive slow movements that transition from a fractured, irregular heartbeat rhythm in the first movement to a fading whisper of sound in the final Adagio. This emotional masterpiece is perfectly captured in the landmark 1969 Philips stereo recording by Bernard Haitink and the Royal Concertgebouw Orchestra, which avoids melodrama in favour of architectural clarity, structural precision, and emotional restraint. Serving as a cornerstone of Haitink’s first complete Mahler cycle, this performance permanently cemented the orchestra’s reputation as a premier voice in Mahlerian interpretation. The recording is further elevated by legendary Philips engineering, which showcases the warm, spacious acoustics of Amsterdams Concertgebouw hall, with a distinct analogue warmth carefully preserved for modern listeners in meticulous vinyl-to-digital transfers like the one by enthusiast Bob Varney. I. Andante comodo: A vast, tragic movement built around an irregular, halting rhythm that many musicologists interpret as Mahler’s own faltering heartbeat. II. Im Tempo eines gemächlichen Ländlers: A distorted, bitter take on a traditional Austrian rustic dance, symbolising the corruption of simple worldly pleasures. III. Rondo-Burleske: A defiant, chaotic, and technically dazzling contrapuntal movement showcasing furious anger and mockery before a sudden glimpse of transcendent beauty. IV. Adagio: A devastatingly beautiful, hymn-like finale. The music slowly fragments until the strings fade into complete silence, marked isterico and ersterbend (dying away).$