| Morton Feldman |
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artista : John Cage - Morton Feldman | |
| titolo : Music for Keyboard 1935–1948 / The Early Years | ||
| etichetta : New World | ||
| formato : CD x 2 | ||
| cod. nr. nw80664 | ||
 | 2007 | |
| _________________ | ||
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John Cage: Music for Keyboard 1935–1948 Jeanne Kirstein, prepared piano, piano, and toy piano Morton Feldman: The Early Years David Tudor, Morton Feldman, Edwin Hymovitz, Russell Sherman, pianos; Matthew Raimondi, Joseph Rabushka, violins; Walter Trampler, viola; Seymour Barab, cello This double-CD set combines two of the key titles of Columbia Records's legendary "Music of Our Time" series curated by David Behrman. Jeanne Kirstein's recording of Cage's early keyboard works remains a touchstone of Cagean interpretation notwithstanding the passage of time. Christian Wolff recalls, "I remember Cage saying that Jeanne Kirstein's playing caught the spirit in which the pieces were written at the time he wrote them—a kind of simple excitement and enthusiasm (also, surely, out of the discovery of the preparing of the piano and the great new sounds)." The seminal 1959 Columbia LP that introduced Feldman's work to the listening public features historic performances that still resonate with passion and conviction more than four decades later. The works maybe divided into three categories: the earlier, precisely notated music (Extensions 1 for Violin and Piano, Extensions 4 for Three Pianos, Two Pieces for Two Pianos, Structures for String Quartet, Three Pieces for String Quartet); the first graphic notation pieces (Intersection 3 for Piano, Projection 4 for Violin and Piano); and the first free durational composition (Piece for Four Pianos). To quote a prescient critic of the time, "[All eight works are] are full of spots, sparks and spangles of radiant color; a single note becomes an event of epical portent; the final result is to compact hours into seconds with an almost overwhelming intensity and depth of feeling." |
| Prezzo : € 24,00 |
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artista : Morton Feldman | |
| titolo : For Bunita Marcus | ||
| etichetta : Sub Rosa | ||
| formato : CD | ||
| cod. nr. sr246 | ||
| 2007 | |
| _________________ | ||
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For Bunita Marcus (1985) 71 minutes performed by Stephane Ginsburgh on a Bösendorfer 225, during a sunny day. Morton Feldman was born in New York on January 12, 1926. In 1949 the most significant meeting up to that time took place - Feldman met John Cage, commencing an artistic association of crucial importance to music in America in the 1950s. Cage was instrumental in encouraging Feldman to have confidence in his instincts, which resulted in totally intuitive compositions. He never worked with any systems that anyone has been able to identify, working from moment to moment. "My past experience was not to meddle with the material, but use my concentration as a guide to what might transpire. I mentioned this to Stockhausen once when he had asked me what my secret was. I don't push the sounds around. Stockhausen mulled this over, and asked: Not even a little bit ?" (Morton Feldman). |
| Prezzo : € 15,00 |
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artista : Morton Feldman | |
| titolo : The Viola In My Life | ||
| etichetta : New World | ||
| formato : CD | ||
| cod. nr. nw80657 | ||
| 2006 | |
| _________________ | ||
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The music on this recording (reissued from CRI CD 620) illustrates the essential integrity of the work of Morton Feldman (1926–1987) and one of its fundamental strengths—its continuously unfolding unanimity of purpose. There are few composers of his generation whose first and last published work (in Feldman's case Journey to the End of Night of 1949 and Piano and String Quartet of 1986) span youth and final years with such a concentrated viewpoint.
There are, however, landmarks in the music of Feldman that are largely technical and notational. There are the graphic pieces, the first from 1950 and the last from 1964, in which some parameter of composition is not specified (often pitch). There are the "free duration pieces," both solo and ensemble, in which there is instruction either for sections of the piece or for its entirety. False Relationships and the Extended Ending (1968) is a late example of this kind, although Why Patterns? (1978) is a variant of the principle. There are also the conventionally notated works in his oeuvre, one of which is The Viola in My Life (1970). It may be that Feldman's music will always strike a certain kind of listener as idiosyncratic—a denial of the time-honored ways in which music articulates itself. I think that Feldman was deeply offended by this response, by this notion that his music was singular because it was, as some might say, "missing something." Though it is true that his values of graduation can be exceedingly fine, when one enters this scale and comprehends it, something truly new and wonderful opens up in the art of music—a world in which the relative and the absolute become engaged with themselves. Karen Phillips, viola; Anahid Ajemian, Matthew Raimondi, violin; Seymour Barab; cello; David Tudor, Paul Jacobs, Yuji Takahashi, pianos; Eberhard Blum, Paula Robison, flute; Arthur Bloom, clarinet; Arnold Fromme, trombone; Jan Williams, Richard Fitz, Raymond DesRoches, percussion; Morton Feldman, piano, conductor |
| Prezzo : € 15,00 |
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artista : Morton Feldman | |
| titolo : Aki Takahashi plays Morton Feldman | ||
| etichetta : Mode | ||
| formato : CD | ||
| cod. nr. mode054 | ||
| 2006 | |
| _________________ | ||
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Aki Takahashi, piano Piano Piece 1955 Two Intermissions Illusions (1948) first recording Extensions 3 Piano Piece (to Philip Guston) Palais de Mari Aki Takahashi is a critically acclaimed virtuoso pianist playing a full spectrum of 20th century music. Aki has premiered many works by important composers as well as compositions written specifically for her. A prolific catalog of her recordings exists abroad including a couple of outstanding Feldman discs. Until now, her recordings have not been widely available here with the exception of her historic Piano Space set and other recitals on CP2, works of Peter Garland on New Albion and, of course, Feldman's Piano and String Quartet with the Kronos Quartet. Morton Feldman's sound-world no longer needs an introduction. Feldman was especially fond of Aki's playing, so much so that he had selected certain works particularly for her. Together they toured this program, with Feldman speaking about the compositions and Aki performing them. The CD contains selections from those recitals as well as works close to Aki's heart, many receiving their first recording or available on CD for the first time. Of particular note is the premiere recording of Feldman's earliest published composition--ILLUSIONS--which is unique in his œuvre: it is mostly loud and fast! The CD's release celebrates Aki's debut Lincoln Center recital in an all Feldman concert August of 1996. In addition to this being the inaugural release in Mode's new Feldman Edition, it is also the beginning of a series featuring the tremendous talent of Aki Takahashi. Future releases will find her performing works by Iannis Xenakis and Luciano Berio, as well as recitals of ensemble music by Paul Bowles and Peter Garland with Essential Music. |
| Prezzo : € 17,40 |
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artista : Morton Feldman | |
| titolo : Composing By Numbers - The Graphic Scores 1950-67 | ||
| etichetta : Mode | ||
| formato : CD | ||
| cod. nr. mode146 | ||
| 2005 | |
| _________________ | ||
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The Barton Workshop James Fulkerson, director Projection I (1950) (2:56) Taco Kooistra, cello Projection II (1951) (4:43) The Barton Workshop, James Fulkerson, conductor Projection III (1951) (2:01) Philip Corner and Frank Denyer, pianos Projection IV (1951) (4:33) Marieke Keser, violin and Frank Denyer, piano Projection V (1951) (2:27) The Barton Workshop, James Fulkerson, conductor Intersection I (1951)* (12:40) The Barton Workshop, Jos Zwaanenburg, conductor Marginal Intersection (1951)* (6:02) The Barton Workshop, Jos Zwaanenburg, conductor Intersection II (1951) (11:01) Frank Denyer, piano Intersection III (1953) (2:41) Frank Denyer, piano Intersection IV (1953) (3:10) Taco Kooistra, cello Out of 'Last Pieces' (1961)* (9:16) The Barton Workshop, Jos Zwaanenburg, conductor The Straits of Magellan (1961) (5:09) The Barton Workshop, James Fulkerson, conductor In Search of An Orchestration (1967)* (7:44) The Barton Workshop, Jos Zwaanenburg, conductor When Feldman met Cage in the winter of 1949, they quickly established a friendship based upon a similarity of intent and a mutual respect for the work each was doing. Soon thereafter, Feldman showed a string quartet he had been writing to Cage. Cage's enthusiasm for this work, and delight in Feldman's being unable to explain "how" he had written it, gave Feldman an all important "permission" to follow his intuition. |
| Prezzo : € 17,40 |
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artista : Morton Feldman | |
| titolo : Triadic Memories | ||
| etichetta : Mode | ||
| formato : CD x 2 | ||
| cod. nr. mode136 | ||
| 2004 | |
| _________________ | ||
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Triadic Memories (1981) (93:48 total) Marilyn Nonken, piano 1. Page 1, System 1, Measure 1 (5:00) 2. Page 5, System 2, Measure 1 (9:56) 3. Page 13, System 1, Measure 4 (20:37) 4. Page 19, System 4, Measure 1 (11:15) 5. Page 25, System 1, Measure 3 (8:46) 6. Page 30, System 4, Measure 1 (5:25) 7. Page 34, System 3, Measure 4 (4:09) 8. Page 38, System 4, Measure 3 (16:57) 9. Page 44, System 1, Measure 1 (11:41) The place Triadic Memories takes us is full of illusions, not only of function and direction but also of timelessness and stasis.
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| Prezzo : € 26,10 |
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artista : Morton Feldman | |
| titolo : Triadic Memories | ||
| etichetta : Mode | ||
| formato : DVD | ||
| cod. nr. mode136dvd | ||
| 2004 | |
| _________________ | ||
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| Prezzo : € 26,10 |
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artista : Morton Feldman | |
| titolo : Late Works with Clarinet | ||
| etichetta : Mode | ||
| formato : CD | ||
| cod. nr. mode119 | ||
| 2003 | |
| _________________ | ||
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Carol Robinson, solo clarinet & bass clarinet
Three Clarinets, Cello and Piano (1971) (9:33) Pierre Dutrieu, clarinet, Olivier Voize, clarinet, Elena Andreyev, cello, Vincent Leterme, piano Bass Clarinet and Percussion (1981) (17:30) Françoise Rivalland, percussion, Peppie Wiersma, percussion Clarinet and String Quartet (1983) (42:20) Quatuor Diotima: Eiichi Chijiiwa, violin, Nicolas Miribel, violin, Franck Chevalier, viola, Pierre Morlet, cello Renowned Parisian based clarinetist Carol Robinson is accompanied by leading European musicians in a magical disc of Feldman's music. These works are combined on one disc for the first time. Clarinet and String Quartet. A meandering clarinet line blends into and colors the string quartet sound, generating a hybrid timbre, almost as if the clarinet were taking on the identity of a string harmonic. Without melody, the listener somehow reaches a momentary solemnity, and even, elation. Three Clarinets, Cello and Piano. Feldman thought of this piece as a still life, and indeed its calm is immediately striking to the listener. Shimmering clusters resonate, solo lines of utter simplicity emerge expressively. Noteworthy are the extreme dynamics, particularly the loud moments, highly unusual for Feldman. Bass-Clarinet and Percussion. Music of a floating quality with rhythms that expand and contract against a steady but unheard pulse. A piece of extremes: brutally high for both timpani and bass clarinet, with large interval leaps and discretely modulating timbres, all within an exaggeratedly reduced dynamic. This is perhaps among Feldman's most mysterious and otherworldly pieces. The two-part liner notes consist of an essay by Ernstalbrecht Steibler, former director of Neue Musik at the Hessischer Rundfunk in Germany; and detailed notes on the works by Carol Robinson. |
| Prezzo : € 17,40 |
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artista : Morton Feldman | |
| titolo : String Quartet No. 2 | ||
| etichetta : Mode | ||
| formato : DVD-A | ||
| cod. nr. mode112dvd | ||
| 2002 | |
| _________________ | ||
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String Quartet No. 2 (1983) FLUX Quartet Tom Chiu, violin Cornelius Duffalo, violin Kenji Bunch, viola Darrett Adkins, cello Feldman's monumental String Quartet No.2 is in one unbroken movement. The FLUX Quartet performance is complete, lasting a total of 6 hours 7 minutes and 7 seconds. In the 1970s Feldman took up the study and collecting of antique Turkish rugs, a highly evolved and exquisite folk art. The rugs are intricately patterned, symmetrical in basic design but with constant variation and displacement in the detailed execution of that design; strikingly and subtly colored, including fine variegations of principal colors resulting from the dyeing process. Analogies are clear to Feldman's music as it takes up large-scale patterning, partly working with his familiar subtle gradations of rhythm and instrumental color and ostinati, loops or extended repetitions of a sounds, partly - and especially in this second string quartet - continually finding new and surprising qualities of color. There are a number of sounds in this piece unlike anything one has heard from a string quartet. |
| Prezzo : € 48,00 |
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artista : Morton Feldman | |
| titolo : Voices and Instruments | ||
| etichetta : Mode | ||
| formato : CD | ||
| cod. nr. mode107 | ||
| 2002 | |
| _________________ | ||
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Journey to the End of Night (1949) (2:11 - 1:12 - 1:00 - 2:37) for Soprano, Flute, Clarinet, Bass Clarinet & Bassoon *FIRST RECORDING 4 Songs to e.e.cummings (1951) (0:41 - 0:32 - 1:17 - 0:45) for Soprano, Piano & Cello Intervals (1961) (1:17 - 3:15 - l:58 - 2:39) for Bass-Baritone, Trombone, Cello, Vibes & Percussion *FIRST RECORDING The O'Hara Songs (1962) (3:09 - 2:32 - 2:41) Bass-Baritone, Chimes, Piano, Violin, Viola & Cello Four Instruments (1965) (20:42) for Chimes, Piano, Violin & Cello Between Categories (1969) (12:29) for 2 Chimes, 2 Pianos, 2 Violins & 2 Cellos *FIRST RECORDING Three Clarinets, Cello and Piano (1971) (9:32) The Barton Workshop James Fulkerson, trombone, conductor & director with: Claron McFadden, soprano Charles van Tassel, bass-baritone This CD is comprised of works from Feldman's Early Period (late 40's until the late 60's) and Middle Period (late 60's/ early 70's until the early 80's) of composing. In the beginning, like all young creative artists, Feldman was working through the influences he found alluring and the influence of his teachers, working for the moment that he would find his personal creative voice. With the previously recorded Only (on Etcetera, The Barton Workshop has now recorded all of the earliest works that Feldman chose to publish). The first work on this CD, Journey to the End of Night (1949) shows unmistakable influences from his study with Stefan Wolpe yet it also shows a clear command of this musical language! It is a dramatically clear and forceful work. The text has been extracted, presumably by Feldman himself, from the long novel of the same title by Céline- the philosophy and critical stance of this text apparently struck a sympathetic chord with Feldman. Although a student of Wolpe, Feldman was clearly heavily influenced by the work of Anton Webern. One hears the harmonic/melodic texture of Webern's music not only in many of the notated works within the following 2 years of Feldman's work - a period which includes the 4 Songs to e.e.cummings (1951), but to a large extent throughout Feldman's entire oeuvre. This period of working through Webern was to prove seminal in Feldman's artistic development, and the 4 Songs to e.e. cummings, with their extreme vocal demands, remind us firmly of Feldman's fascination with the surface of Webern's music. In Intervals (1961), Feldman creates situations in which pitches or tonal colors will be picked up between the instruments-the texture could be described as a stasis or prolonged chord/color. The O'Hara Songs (1962), notated in the same manner as Intervals, never uses all the instruments simultaneously with the singer. With regard to Frank O'Hara's poem, Feldman uses it in its entirety, without any repetitions of words or phrases in the outer movements, while the inner movement uses only 5 repetitions a of single phrase of music/text: "Who'd have thought that snow falls". It is a poem of striking tenderness, again revealing something almost contradictory about the often gruff, bear-like Feldman to us. Four Instruments (1965), like The O'Hara Songs, is composed utilizing Feldman's compositional/notational system wherein the players begin simultaneously but proceed at their own pace. In addition, Four Instruments and Between Categories, like the earlier Vertical Thoughts series, require the players to often listen carefully not only to the beginning and sustained parts of each note but also to play their next note just as another instrument is fading out. This is an extreme concentration upon the manner of beginning, sustaining and ending notes which no other composer has really explored. Such an extreme focus by each player must of course be matched with attentive listening by the audience. Between Categories (1969) uses two identical ensembles separated in space. The ensembles, like most of his pieces from the 60's, begin simultaneously, but in the case of ensemble 1, they begin with a silence! Through the use of two identical ensembles and shared materials (chords and arpeggiated material), Feldman underscores one's sense of musical space. In Three Clarinets, Cello and Piano (1971), Feldman was thinking of Cézanne, of painterly issues as they might apply to musical composition. The title is intentionally like the title of a still-life painting. This is considered a work in which he was returning to "flat textures"-he has set the melodic work of Clarinet 1 and the Cello off as foreground materials against the flat textures provided by the other instruments. The superb performances come from The Barton Workshop, an Amsterdam based ensemble founded in 1989 by composer-trombonist James Fulkerson. The artistic philosophy of the ensemble is to perform the leading edge of contemporary music today. The Barton Workshop have a strong tradition of music by Wolff, Cage and Feldman. They have made many excellent recordings on the Etcetera label, this Feldman volume is their first of several to come dedicated to Feldman and Wolff. |
| Prezzo : € 17,40 |
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artista : Morton Feldman | |
| titolo : Last Pieces (Performed By Stephane Ginsburgh) | ||
| etichetta : Sub Rosa | ||
| formato : CD | ||
| cod. nr. sr189 | ||
| 2002 | |
| _________________ | ||
| This new release on Sub Rosa is the third in a series of three concentrating on avant-garde piano compositions (prev. volumes: Triadic Memoris, Piano Pieces For More Than 2 Hands). American composer Morton Feldman, born 1926, is now recognized as an one of the most important composers of the 20/21st century. After he met John Cage in the late forties he developed a method of intuitive composing which allowed Feldman to work on the outside of the strict classical system. On this recording pianist Stephane Ginsburgh plays three piano compositions which capture the essence of Morton Feldman's artistry, pure moments of sound and infinity. Or as Ginsburgh quoted: "Ask the music first and use your concentration." |
| Prezzo : € 17,40 |
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artista : Morton Feldman | |
| titolo : Indeterminate Music | ||
| etichetta : Mode | ||
| formato : CD | ||
| cod. nr. mode103 | ||
| 2001 | |
| _________________ | ||
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The Straits of Magellan (1961) 5:11 for flute, horn, trumpet, amplified guitar, harp, piano & contrabass Two Pieces for Six Instruments (1956) 2:14/1:44 for flute, alto flute, horn, trumpet, violin & cello *First Recording Projections (1950-51) 1. for cello solo (3:42) 2. for flute, trumpet, violin, cello & piano (5:55) 3. for 2 pianos (1:49) 4. for violin & piano (5:18) 5. for 3 flutes, 3 cellos, trumpet & 2 pianos (2:37) Durations (1960) 1. for alto flute, violin, cello & piano (8:30) 2. for cello & piano (3:24) 3. for tuba, piano & violin (8:31) 4. for violin, cello & vibraphone (3:39) 5. for violin, cello, vibraphone, celesta/piano & harp (8:04) The Turfan Ensemble Philipp Vandré and Thaddeus Watson, directors A unique collection of Feldman's "indeterminate" works; which incorporated new types of notation (including graph scores) and involving a considerable degree of indeterminacy in regard to pitch, dynamics, etc. This is the first time the complete Durations and Projections series have appeared on a single disc. It is a rewarding experience to hear the Durations and Projections played together, imparting a sense of Feldman's mastery of instrumentation and timbre while savoring the metamorphosis of its shifting colors, weights and densities of sound. The Two Pieces (first recording) reveal techniques which evoke a piano's resonance, as Feldman uses chords in which most tones immediately fade after their entrance, leaving only one or two sustained tones. The Straits of Magellan focuses on static the and "vertical" experience, as well as on the constantly changing and fluctuating density of their sonic events - allowing one to relish the subtlety and sensuousness of this music which, startlingly, also conveys a jazzy character. The superb performances, recorded in Germany, are by acclaimed pianist Philipp Vandré and the Turfan Ensemble. Gramophone magazine said of his recording of Cage's Sonatas and Interludes: "…Vandré's thoughtful choice of preparations and loving approach to the music make this the definitive recording of the Sonatas and Interludes". |
| Prezzo : € 17,40 |
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artista : Morton Feldman | |
| titolo : For Stefan Wolpe | ||
| etichetta : New World | ||
| formato : CD | ||
| cod. nr. nw80550 | ||
| 2000 | |
| _________________ | ||
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Choral Music of Morton Feldman and Stefan Wolpe Choir of St. Ignatius of Antioch, New York City / Harold Chaney, conductor Benjamin Ramirez, Thomas Kolor, percussion Stephen Foreman, tuba Tracks on this Album Two Chinese Epitaphs Stefan Wolpe Four Pieces for Mixed Chorus Stefan Wolpe Chorus and Instruments II Morton Feldman Christian Wolff in Cambridge Morton Feldman For Stefan Wolpe Morton Feldman Stefan Wolpe (1902–1972), one of the great teachers in twentieth century music, is also now recognized as one of its most significant composers. His Two Chinese Epitaphs, composed in Jerusalem in 1937, illustrates the composer's deep allegiance to socialist issues. He wrote the work swiftly and in anger, just after learning that the Basque town of Guernica had been bombed by the Fascists the previous week. He chose to set two poems by Louise Peter that decry, in a few short phrases of stark imagery, the atrocities committed against oppressed workers. The Four Pieces for Mixed Chorus (1955) were composed for a contest sponsored by the government of Israel. It is a setting of four Hebrew texts—three from the Bible and one from Israeli poet Gershon Shofman. All the texts express hope for the new nation of Israel. Morton Feldman (1926–1987) studied with Wolpe for several years and was deeply influenced by his modernist aesthetic, particularly his interest in the visual arts. For Stefan Wolpe (1986), for chorus and two vibraphones, is Feldman's tribute to his venerated teacher. It alternates between vocal and instrumental passages. The two never intermingle, even though Feldman lets the vibraphones ring into the voices. As is characteristic of his late music, the piece combines the quiet, atonal, austere textures of his earlier music (of which Christian Wolff in Cambridge [1963] and Chorus and Instruments II [1967] are stellar examples) with several new elements—greater duration, minimalist repetition, and bigger gestures. All five works are making their first appearance on CD. An indispensable addition to the discographies of both composers. |
| Prezzo : € 15,00 |
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artista : Morton Feldman | |
| titolo : Complete Music for Violin & Piano | ||
| etichetta : Mode | ||
| formato : CD x 2 | ||
| cod. nr. mode82-3 | ||
| 2000 | |
| _________________ | ||
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CD 1 1. Piece for Violin and Piano (1950) (1:55) 2. Projection 4 (1951) (5:08) 3. Extensions 1 (1951) (5:28) 4. Vertical Thoughts 2 (1963) (3:04) 5. Spring of Chosroes (1977) (15:27) 6. For John Cage (1982) beginning (40:42) CD 2 1. For John Cage (1982) conclusion (41:14) (total duration of "For John Cage": 81:56) Marc Sabat, violin Stephen Clarke, piano Here, collected for the first time, are all of Morton Feldman's compositions for violin and piano. It is also a kind of walk through his compositional development, from the Webernesque early Piece for Violin and Piano (1950); through the experiments with graphic notation in Projection 4 (1951); followed by an excursion into the jungle-like density of David Tudor's energy in Extensions 1 (1951); to the cryptic notational riddles of Vertical Thoughts 2 (1963); from the dry carpet-dusting Spring of Chosroes (1977) to the extended sound canvas of the late Feldman in For John Cage (1982). He remarked, with an eye twinkling: "My music is just like Webern. Only a little bit longer." Sabat/Clarke, from Toronto, have performed together since 1996 and are specialists in this special "world" (their repertoire also consists of the complete violin & piano music of Christian Wolff and James Tenney. They have recorded works of Tenney (on HatArt) with plans for a future disc of Wolff's pieces for violin and piano on Mode. The liner notes by German composer Walter Zimmermann are interspersed with Feldman's own comments culled from various interviews with Zimmermann and others. |
| Prezzo : € 26,10 |
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artista : Morton Feldman | |
| titolo : First Recordings: 1950s | ||
| etichetta : Mode | ||
| formato : CD | ||
| cod. nr. mode066 | ||
| 1999 | |
| _________________ | ||
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The Turfan Ensemble Philipp Vandré, piano and conductor Jackson Pollock, voice in "Music for Jackson Pollock" FIRST RECORDINGS OF: Intersection (1953) for magnetic tape (3:26) Nature Pieces (1951) for piano (3:34, 4:05, 3:17, 1:33, 1:30) Variations (1951) for piano (6:55) Extensions 3, unpublished version (1952) for piano (5:04) Piece for Violin & Piano (1950) (2:14) Intermission 3 (1951) for piano (2:17) Intermission 6a (1953) for 1 piano (4:37) Music for Jackson Pollock (1950-51) for 2 cellos, section from original soundtrack to a film by Hans Namuth (2:33) Music for Jackson Pollock (complete original soundtrack, mono) (0:12, 2:33, 1:40, 1:01, l:32, 2:38) Jackson Pollock, speaker Daniel Stern, cellos PLUS: Extensions 1 (1951) for violin & piano (5:22) Extensions 4 (1952-54) for 3 pianos (6:32) Two Intermissions (1950) for piano (1:26, 1:27) Intermission 4 and 5 (1952-3) for piano (2:03, 4:01) Intermission 5 (1953) for piano (4:01) Intermission 6b (1953) for 2 pianos (3:41) A remarkable discovery of over 75 minutes of Morton Feldman's music. This disc presents 13 unrecorded early works spanning 1950 to 1953, many previously unpublished. Highlights: . His only work for magnetic tape, Intersection, realized in 8-channels by Feldman with John Cage and Earle Brown. Considered lost, the work has been restored and presented here for the first time in 40 years. . His score for 2 cellos to Hans Namuth's film of Jackson Pollock, presented in its entirety including narration by Pollock himself. . The solo piano collection Nature Pieces, which combine elements of Feldman's youth with his mature style, and the Variations written for a dance by Merce Cunningham. . Previously missing works from the Extensions and Intermission cycles. The performances are superbly played by pianist Philipp Vandré and the Turfan Ensemble from Frankfurt. |
| Prezzo : € 17,40 |
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artista : Morton Feldman | |
| titolo : | ||
| etichetta : Edition RZ | ||
| formato : CD | ||
| cod. nr. rz1010 | ||
| 1996 | |
| _________________ | ||
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Piano Three Hands (M. Feldman + J. Tilbury) Intermission 5 (M. Feldman) Vertical Thoughts 2 (C. Cardew, J. Négyesy) Extensions 3 (M. Feldman) Four Instruments (Cantilena Chamber Players) Intermission 5 (D. Tudor) Piano Piece 1956 A + B (D. Tudor) Intersection 3 (D. Tudor) Instruments 1 (E. Blum, N. Post, G. List, J. Williams, J. Kubera) Beautiful collection, primarily made up of Feldman's earliest, shorter piano works from the early 50s, going through the late 70s. A much needed compendium to all the essential documentation of his later, intensely long works that have been coming out. Performances here by Feldman himself, David Tudor, Cornelius Cardew, John Tilbury and others. Typically nice RZ packaging. |
| Prezzo : € 19,80 |
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