Мълчание и репетитивност. Самюъл Бекет в музиката на Мортън Фелдман
Silence and Repetitiveness by Samuel Beckett in the Music of Morton Feldman

Summary/Abstract: The musical opuses based on Samuel Beckett ’s texts, although creative works by various composers form a special club style in terms of: the ratio sound-silence, language expression and compression, particular intonation and phonetic games, exhausted imagination and vague metaphors. From more than 30 composers, with more than 50 opuses composed on Bekett ’s texts we focus on Morton Feldman’s opera Neither (a libreto of 87 words by Beckett ) and discuss the characteristic features of the creative symbiosis Feldman / Beckett . 1. We note the deformation of a genre, libretto, theatrical action; indifferenceness towards the text, creating a parallel world to that of Bekett ’s absurdity (section Either / Or – music or text in Morton Feldman. The opera Neither). Both, the text and the music, join the silent protest against the evil, the banality, the hypocrisy, the blatancy etc. 2. Neither follows Kirkegor in juxtapositions such as: politics – art and ethical – aesthetic. The common is in the choice of incompatible alternatives – either-or of Kirkegor and neither-nor of Beckett (section From Antinomies to Negation. Kirkegor – Becket). 3. In Beckett and in music minimalists the ultimate objective is not the effectiveness of the message, but in the great compactness, minimal organization and continuous sound repetitiveness (section Repetitive Compositions and Minimalism – Beckett / Feldman). In the only vocal part Feldman also insulates language as a factor, which inhibits the communication, and puts the individual in isolation.

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