MORTON FELDMAN Complete Music For Cello & Piano CD
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| Artist: | Morton Feldman |
| Title: | Morton Feldman Complete Music For Cello & Piano CD |
| Label: | |
| Format: | CD |
| Country | USA & Canada |
| Barcode: | 764593034025 |
| SKU: | VI-191823 |
| Condition: | NEW |
| The items we sell are brand new and unused official releases supplied to us by record companies, unless stated otherwise in the listing. Generally all items are sealed (this will be stated in the listing title). Occasionally we may open an LP to confirm any colour variant. We sometimes sell used items, this will be shown in the listing. | |
| Genre: | Contemporary |
This release brings together ALL of Morton Feldman's compositions for cello and piano, including unpublished works and a first recording. Together, these works tell the story of Feldman's music. They span 35 years - over half his lifetime - from when he was searching for his voice as a student to when he was opening new doors in the last years of his life. The album is bookended by two realizations of the graphic score ""Durations 2"" (1960), giving an opportunity to hear what the flexibility of graphic notation can bring. The ""Sonatina"" (1946) is the earliest work here, and a first recording. Displaying the influence of Béla Bartók, Feldman wrote for the cello sound he loved without fully understanding the realities of playing the instrument. The resulting solo part is naively virtuosic and often even impossible to play. For this recording, Stephen Marotto keeps as close as possible to the written score, aiming to fulfill what Feldman heard in his mind's ear. By 1948, Feldman had been studying privately with the composer Stefan Wolpe for several years. The unpublished ""Two Pieces,"" from that year is a fluctuating music held together not by logic, but through it's carefully poised gestures - what Wolpe called ""shape."" While the emotional drama of this and other early works would soon disappear from Feldman's music, it was above all the idea of ""shape"" that remained with him for the rest of his life. In 1950, Feldman met John Cage, who shepherded him into the world of the New York avant-garde. The unpublished, compact ""Composition for cello and piano"" (1951) is a sudden breakthrough, yet it already contains the DNA of his very last works in it's minimal material and blurred memories of sounds. ""For Stockhausen, Cage, Stravinsky, and Mary Sprinson"" (1972) is an ephemeral, unpublished piece, a shard of music broken off from the main body of work Feldman was producing at the time. It consists of just two musical moments separated by silence - the same chord expressed in two different ways. At almost 1 hour and 29 minutes, ""Patterns in a Chromatic Field"" (1981) is one of Feldman's late, long-duration works, and it is perhaps the best known of the works recorded here. Liner notes by Samuel Clay Birmaher.
1 Durations 2 [Realization I]
2 Composition for cello ; piano~I
3 Composition for cello ; piano~II
4 Composition for cello ; piano~III
5 Composition for cello ; piano~IV
6 Composition for cello ; piano~V
7 Composition for cello ; piano~VI
8 Composition for cello ; piano~VII
9 Composition for cello ; piano~VIII
10 Sonatina~I. Allegro
11 Sonatina~II. Larghetto cantabile e tranquillo
12 Sonatina~III. Allegro grazioso
13 Two Pieces~I. Allegro
14 Two Pieces~II. Intermezzo
15 For Stockhausen, Cage, Stravinsky, and Mary Sprinson
16 Patterns in a Chromatic Field~mm 1-387, page 1
17 Patterns in a Chromatic Field~mm 388-558, page 20
1 Patterns in a Chromatic Field~mm 559-792, page 27
2 Patterns in a Chromatic Field~mm 793-864, page 35
3 Patterns in a Chromatic Field~mm 865-1045, page 46
4 Patterns in a Chromatic Field~mm 1046-1166, page 52
5 Patterns in a Chromatic Field~mm 1167-1426, page 64
6 Patterns in a Chromatic Field~mm 1427-end, page 69
7 Durations 2 [Realization 2]
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