In the early 1960s, the New York composer Morton Feldman went to visit his friend Christian Wolff, who was a classics tutor at Harvard at the time. When Feldman reached Claverly Hall, he found Wolff sitting in his room, reading Euripides. A few years later, Feldman visited Wolff at Harvard again. On his arrival, he found his friend sitting in the same chair, again reading Euripides.
So struck was Feldman by the coincidence that it became the catalyst for a brief choral work, which Feldman titled “Christian Wolff in Cambridge.” (1963) But the two situations, and their identity across a significant timespan, resonate with a later, unrelated work also dedicated to his friend. “For Christian Wolff” (1986), for flute and keyboards, belongs to