Morton Feldman was a composer who left the European avant-garde behind, shedding the complexities it was fraught with. Not only did he refuse to go backwards, but he postulated a new kind of theory that stated that there must no longer be a difference between construction and reality, between concealed technique and musical event; in short – and in the words Feldman himself often used – the only thing that matters is the surface itself, not the construction
behind it. Peter Ablinger, however, puts the question differently and asks: “What is a surface in music?”