Giacomo Balla. <i>Velocità astratta + rumore (Abstract speed + sound)</i>. 1913-1914. Oil on board, including the artist’s original painted frame, 21 1/2 x 30 1/8″ (54.5 x 76.5 cm). The Solomon Guggenheim Foundation, Peggy Guggenheim Collection, Venice. © 2012 / Artists Rights Society (ARS), New York / SIAE, Rome. Photo courtesy of Monadori Portfolio / Electa / Art Resource, NY

Dissonant Abstraction: Arnold Schoenberg and Morton Feldman

Monday, March 4, 2013, 6:00 p.m.

Theater 1 (The Roy and Niuta Titus Theater 1), T1

Related Publication


Inventing Abstraction, 1910-1925: How a Radical Idea Changed Modern Art
Leah Dickerman

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In conjunction with the MoMA exhibition Inventing Abstraction, 1910–1925, Bang on a Can presents a pair of concerts that reveal how pioneering European composers of 100 years ago forever changed the music in New York. Each concert pairs two composers—an early-20th-century innovator, and a New Yorker they influenced. The music is performed by alumni and faculty of the Bang on a Can Summer Music Festival at MASS MoCA, a program dedicated entirely to the creation, study, and performance of the most adventurous music of our time. This second evening in the series features one of Arnold Schoenberg's shortest, oddest, most intense pieces, Herzgewächse, a shockingly expressive vocal miniature originally written for Vasily Kandinsky's journal The Blue Rider. Morton Feldman's meditative work Three Voices, for solo voice and two prerecorded solo voices, a luxurious, introspective setting of a poem by Frank O'Hara, has a much slower tempo than the Schoenberg piece, but is ultimately no less intense.

In conjunction with the exhibition Inventing Abstraction, 1910–1925

Tickets ($10, $8 members and corporate members, $5 students, seniors and staff of other museums) can be purchased online or at the information desk in the main lobby or the film desk.