Morton Feldman’s “Triadic Memories” unfold in a realm of shadows. The droplets of notes and meticulously spaced-out clusters that make up this hourlong work for solo piano range from the very quiet to the barely audible. But it’s their afterlife that the ear is drawn to, the aura of resonance that hovers below the grand piano’s wing long after a key is struck.

On Thursday at the Baryshnikov Arts Center, the pianist Pedja Muzijevic offered a mesmerizing reading of the piece that deepened Feldman’s music through lighting and dance. In “Framing Time,” part of Lincoln Center’s White Light Festival, the precise and enigmatic movements of Cesc Gelabert (in his own choreography) brought out the work’s ambivalent mood, somewhere between playful curiosity and aching melancholy. Paper-lantern-glow sets and lighting by Burke Brown deepened the mystery.

Feldman wanted individual notes to feel “sourceless,” so that the sound would reveal itself not in the attack but in the decay, as a “departing landscape.” Mr. Brown captured that effect visually in one passage when Mr. Gelabert performed from behind a wall of milky screens, lit so that his expressive arms and hands seemed to stretch to uncanny proportions, amorphous and monstrous at once. CORINNA da FONSECA-WOLLHEIM