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Morton Feldman's Triadic Memories is an example of his work with "Time in its unstructured existence...how Time exists before we put our paws on it... our minds, our imaginations into it." His concern with how a musical composition sounds, rather than how it is made, set him on a path toward a new concert experience. A temporal landscape is created, where memory, the cornerstone of perceiving musical form, is consistently thwarted.
"In "Triadic Memories", there is a section of different types of chords where each chord is slowly repeated. One chord might be repeated three times, another, seven or eight - depending on how long I felt it should go on. Quite soon into a new chord I would forget the reiterated chord before it. I then reconstructed the entire section: rearranging its earlier progression and changing the number of times a particular chord was repeated. This way of working was a conscious attempt at "formalizing" a disorientation of memory. Chords are heard repeated without any discernible pattern. In this regularity ... there is a suggestion that what we hear is functional and directional, but we soon realize that this is an illusion: a bit like walking the streets of Berlin - where all the buildings look alike, even if they're not."
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