- published: 17 May 2013
- views: 71785
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Morton Feldman - For Philip Guston, 1984.
S.E.M. Ensemble (Petr Kotik, flute(s). Joseph Kubera, piano/celesta. Chris Nappi, percussion) Released 2000
Morton Feldman | Triadic Memories | Louis Goldstein: Piano | Offseason Productions | 2000
- published: 24 Mar 2013
- views: 43055
Midsummer Chamber Music Festival
Harpa Concert Hall, Reykjavik (Iceland)
June 20, 2013
Víkingur Ólafsson (piano)
Sigrún Edvaldsdóttir (violin)
Bryndís Halla Gylfadóttir (cello)
Una Sveinbjarnardóttir (violin)
Thórunn Ósk Marinósdóttir (cello)
- published: 18 Jul 2016
- views: 4
[excerpt]
FLUX Quartet
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 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.
Lasting more than six continuous hours, it is "a disorienting, transfixing experience that repeatedly approached and touched the sublime." - Alex Ross, in his review of the FLUX Quartet's New York City performance in The New Yorker.
String Quartet 2's score is 124 pages, at one tempo marking of 63-66 beats per minute - as such, a slow tempo. Feldman idiosyncratically sets the bars, so one page may last as little as about half a minute or as much as nearly seven minutes.
"A very exciting quartet composed of four young men...who have lots of ideas and clearly enjoy making music together," - Anthony Tommasini, NY Times, the FLUX Quartet has performed to rave reviews at many music centers around the world. FLUX have performed Quartet 2 in concert numerous times and know the score intimately. The FLUX Quartet's repertoire consists of notable pioneers as well as visionaries of tomorrow - from "classics" by Nancarrow, Ligeti, and Cage, to works by John Zorn, Ornette Coleman, Oliver Lake, and tenor balloonist Judy Dunaway.
This deluxe set features liner notes by Feldman's colleague Christian Wolff, mixing personal experiences and recollections with analysis; and by FLUX founder Tom Chiu who writes of the "experience" of performing such a large-scale work.
One can experience the work uninterrupted - complete, with no need to change discs - on the DVD Edition; along with the thrilling realism of uncompressed 24-bit PCM sound. This audio-only DVD can be played on any DVD player (note: there are no visuals).
For ease of navigation, both the DVD and CD versions have many track points (approximately every 5-6 pages of the score) which allow you to navigate through the disc(s) and the piece. The tracks are identical for both the DVD and CD.
- published: 06 Jun 2011
- views: 16733
For John Cage, for violin & piano (1982)
Stephen Clarke, piano
Marc Sabat, violin
Morton Feldman's "For John Cage" scored for violin and piano, approximately 70 minutes long, was composed in 1982. This was during the last period of Feldman's creative activity when made several works of extended listening durations, like the "Triadic Memories" (1981), "Patterns in a Chromatic Field" (also known as "Untitled Composition for Cello and Piano" (1981), "Crippled Symmetry" (1983), the 80-minute "String Quartet" (1979), the 43-minute ensemble piece "For Samuel Beckett" (1987), and the more than 4 and 1/2 hours of "For Philip Guston". In his ensemble works, Feldman assigned certain identifiable gestures to certain individual instruments and instrumental groups, and these gestures would be repeated on long, asymmetrical time schedules. The rhythms would be gradually offset, the pitches would move through harmonic fields that would be outlined by changes in the single pitches, note duration and consequently coordination between parts would either be conventionally notated or be indeterminate and left to the choice of the performers. The resulting ensemble image would be like floating layers of sound passing each other and combining in various ways. In a work with only two instruments, such as this, the gradual modification of rhythm and other elements, is highlighted. In Feldman's earlier works, notes would be relatively isolated, and every once in a while a motoric "loop" would be created from a sequence of notes, and would be repeated more or less without change for a brief period. In this work, these looping patterns pre-dominate. The violin and piano sometimes imitate each other, exchange parts, but most often share a pattern divided between themselves. The patterns, although simple, are unpredictable both in their shape, their subtle modification in timbre, tempo, articulation (attack, non-attack) and their number of repetitions, or singular statement. There is no sense of traditional linear development, and there is, really, no exact repetition. Certain remarkable illusionary passages occur, for example, when the two instruments exchange parts: after a long time of single note repeats in the piano and two-note gestures in the violin, at approximately 20 minutes into the piece, the violin begins pulsing (at different tempi) and the piano plays two-note figure in the high and low registers. The effect on the listener is difficult to explain in previous musical terms, but the piano and violin start to be heard as distinct voices, even if the music looks the same on the page. As if your left and right brain functions (if those actually exist separately) have switched over to the other side. At approximately 26 minutes, extremely high notes, and a switch to triplet groups occur; small chromatic movements add to the eerieness. At approximately 48 minutes into the piece, clusters begin appearing in the piano part, and snaky microtonal inflections occur in the violin part; this is followed by chromatic scales in the piano part smeared with the sustaining pedal, and they are imitated almost in pitch unison by the violin playing in microtones, artificial harmonics and sul ponticello. This is truly a bizarre sound. All certainty assured by the traditional relation to pitch is gradually obscured. Gesture and shape become the prime vocabulary. The distorting mirror gradually becomes clear again. The piano provides an ascending ladder of tuning points adding up to more complex harmony than that of the beginning. There is a return to more energetic patterns. And then to the ascending chromatics (3 to 5 note patterns). The piece concludes with a slow 5-note ascending cluster. We are left with a great mystery simply expressed. "It's a little piece for violin and piano, but it doesn't quit" (Feldman in conversation with composer Peter Gena). [allmusic.com]
Art by John Cage
- published: 15 Nov 2015
- views: 8317
Morton Feldman | Piano, Violin, Viola, Cello | Bridge Records | 2015
- published: 01 Sep 2016
- views: 211
Violin and String Quartet, for violin & string quartet (1985)
Peter Rundel, violin
Pellegrini-Quartett
Morton Feldman's large scale work simply entitled Violin and String Quartet commences with the violin soloist contemplating the minor seventh interval A to G over and over again, in no predictable rhythmic configuration, while confronted by soft, dissonant chord clouds from the other musicians. The clouds quietly disintegrate as the entrances become more staggered. Ten minutes or so into the piece, Feldman refines the opening gestures, expanding the interval leaps, and voicing chord clusters in numerous configurations. At the 22-minute mark, Feldman arrives back where he started, but in a parallel universe, so to speak, with the aforementioned minor seventh transformed into a major ninth (G to A), the chord clouds fuller of body, and increased rhythmic momentum. Before you've noticed, the harmonic motion has grown more protracted when the time comes to switch discs. Continue listening, and you'll arrive at a soothing, yet somewhat darker lower-register variation on the opening material at the 13-minute mark (remember, we're on disc two). There's a poignant stretch of music between 26 and 31 minutes where the slowly reiterated chords take on a lush harmonic character, giving way to a section made up of staggered major ninths moving in opposite directions. Faster moving sustained chords ensue, but now coloured by discreetly placed pizzicatos, the first plucked notes we've heard in this piece. Soon all the instruments stack up the aforementioned minor ninth, sometimes in canon, sometimes together, all to intense, claustrophobic effect. An oasis in the form of a steady procession of short-breathed sustained chords lies ahead. On paper this music looks simple to play, even sight-read, yet to control the composer's pinpointed dynamics, rhythms, and articulations is easier said than done, let alone holding a listener's attention for nearly two hours. --Jed Distler
Two hours of sighs, whispers, murmurs, and tremolos from a string quartet etherealized further by a solo violin floating above. That's what you get with this epic anti-epic from 1985 by Morton Feldman. Feldman's admirers regard him as the most significant composer of our time. It's a hard case to make for something so minimal; this piece in particular seems less like music than music's ghost -- a pure essence that denies anything remotely substantial or corporeal. 'Let's get out of here before it starts to develop,' Debussy once said to a friend following the exposition in the opening of a Beethoven symphony; Feldman's music is the ultimate manifestation of that stance. Unlike Webern, who sometimes did develop his tiny cells, if only for a moment, Feldman creates the smallest musical materials imaginable, only to have them slowly vanish. Still, Feldman is a distinct, instantly recognizable voice (or anti-voice) -- something that cannot be said for many recent composers. Feldman may not be the greatest composer of our time, as his cultish advocates assert, but he may well be the greatest for insomniacs. This mysterious, wispy stuff is very close to a pure dream state, perhaps the best 3 AM music ever. --Jack Sullivan
Art by Sol LeWitt
- published: 01 Mar 2014
- views: 35611
Morton Feldman - For Bunita Marcus (1985)
Stephane Ginsburgh, piano
Sub Rosa (2007)
Artwork: Mark Rothko
- published: 22 Jan 2014
- views: 20356
Morton Feldman
Morton Feldman (January 12, 1926 – September 3, 1987) was an American composer, born in New York City.
A major figure in 20th-century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown. Feldman's works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating; pitch shadings that seem softly unfocused; a generally quiet and slowly evolving music; recurring asymmetric patterns. His later works, after 1977, also begin to explore extremes of duration.
Biography
Feldman was born in Woodside, Queens into a family of Russian-Jewish immigrants from Kiev. His father was a manufacturer of children's coats. As a child he studied piano with Vera Maurina Press, who, according to the composer himself, instilled in him a "vibrant musicality rather than musicianship." Feldman's first composition teachers were Wallingford Riegger, one of the first American followers of Arnold Schoenberg, and Stefan Wolpe, a German-born Jewish composer who studied under Franz Schreker and Anton Webern. Feldman and Wolpe spent most of their time simply talking about music and art.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Morton_Feldman
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
John Cage
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.
Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48).
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/John_Cage
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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288:33Morton Feldman For Philip Guston
Morton Feldman For Philip GustonMorton Feldman For Philip Guston
Morton Feldman - For Philip Guston, 1984. S.E.M. Ensemble (Petr Kotik, flute(s). Joseph Kubera, piano/celesta. Chris Nappi, percussion) Released 2000 -
25:46Morton Feldman ~ Rothko Chapel
Morton Feldman ~ Rothko Chapel -
112:25Morton Feldman - Triadic Memories (Louis Goldstein)
Morton Feldman - Triadic Memories (Louis Goldstein)Morton Feldman - Triadic Memories (Louis Goldstein)
Morton Feldman | Triadic Memories | Louis Goldstein: Piano | Offseason Productions | 2000 -
83:56Morton Feldman - Piano and String Quartet (1985)
Morton Feldman - Piano and String Quartet (1985)Morton Feldman - Piano and String Quartet (1985)
Midsummer Chamber Music Festival Harpa Concert Hall, Reykjavik (Iceland) June 20, 2013 Víkingur Ólafsson (piano) Sigrún Edvaldsdóttir (violin) Bryndís Halla Gylfadóttir (cello) Una Sveinbjarnardóttir (violin) Thórunn Ósk Marinósdóttir (cello) -
32:12Mode 112: Morton Feldman - String Quartet No. 2
Mode 112: Morton Feldman - String Quartet No. 2Mode 112: Morton Feldman - String Quartet No. 2
[excerpt] FLUX Quartet 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 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. Lasting more than six continuous hours, it is "a disorienting, transfixing experience that repeatedly approached and touched the sublime." - Alex Ross, in his review of the FLUX Quartet's New York City performance in The New Yorker. String Quartet 2's score is 124 pages, at one tempo marking of 63-66 beats per minute - as such, a slow tempo. Feldman idiosyncratically sets the bars, so one page may last as little as about half a minute or as much as nearly seven minutes. "A very exciting quartet composed of four young men...who have lots of ideas and clearly enjoy making music together," - Anthony Tommasini, NY Times, the FLUX Quartet has performed to rave reviews at many music centers around the world. FLUX have performed Quartet 2 in concert numerous times and know the score intimately. The FLUX Quartet's repertoire consists of notable pioneers as well as visionaries of tomorrow - from "classics" by Nancarrow, Ligeti, and Cage, to works by John Zorn, Ornette Coleman, Oliver Lake, and tenor balloonist Judy Dunaway. This deluxe set features liner notes by Feldman's colleague Christian Wolff, mixing personal experiences and recollections with analysis; and by FLUX founder Tom Chiu who writes of the "experience" of performing such a large-scale work. One can experience the work uninterrupted - complete, with no need to change discs - on the DVD Edition; along with the thrilling realism of uncompressed 24-bit PCM sound. This audio-only DVD can be played on any DVD player (note: there are no visuals). For ease of navigation, both the DVD and CD versions have many track points (approximately every 5-6 pages of the score) which allow you to navigate through the disc(s) and the piece. The tracks are identical for both the DVD and CD. -
81:57Morton Feldman - For John Cage
Morton Feldman - For John CageMorton Feldman - For John Cage
For John Cage, for violin & piano (1982) Stephen Clarke, piano Marc Sabat, violin Morton Feldman's "For John Cage" scored for violin and piano, approximately 70 minutes long, was composed in 1982. This was during the last period of Feldman's creative activity when made several works of extended listening durations, like the "Triadic Memories" (1981), "Patterns in a Chromatic Field" (also known as "Untitled Composition for Cello and Piano" (1981), "Crippled Symmetry" (1983), the 80-minute "String Quartet" (1979), the 43-minute ensemble piece "For Samuel Beckett" (1987), and the more than 4 and 1/2 hours of "For Philip Guston". In his ensemble works, Feldman assigned certain identifiable gestures to certain individual instruments and instrumental groups, and these gestures would be repeated on long, asymmetrical time schedules. The rhythms would be gradually offset, the pitches would move through harmonic fields that would be outlined by changes in the single pitches, note duration and consequently coordination between parts would either be conventionally notated or be indeterminate and left to the choice of the performers. The resulting ensemble image would be like floating layers of sound passing each other and combining in various ways. In a work with only two instruments, such as this, the gradual modification of rhythm and other elements, is highlighted. In Feldman's earlier works, notes would be relatively isolated, and every once in a while a motoric "loop" would be created from a sequence of notes, and would be repeated more or less without change for a brief period. In this work, these looping patterns pre-dominate. The violin and piano sometimes imitate each other, exchange parts, but most often share a pattern divided between themselves. The patterns, although simple, are unpredictable both in their shape, their subtle modification in timbre, tempo, articulation (attack, non-attack) and their number of repetitions, or singular statement. There is no sense of traditional linear development, and there is, really, no exact repetition. Certain remarkable illusionary passages occur, for example, when the two instruments exchange parts: after a long time of single note repeats in the piano and two-note gestures in the violin, at approximately 20 minutes into the piece, the violin begins pulsing (at different tempi) and the piano plays two-note figure in the high and low registers. The effect on the listener is difficult to explain in previous musical terms, but the piano and violin start to be heard as distinct voices, even if the music looks the same on the page. As if your left and right brain functions (if those actually exist separately) have switched over to the other side. At approximately 26 minutes, extremely high notes, and a switch to triplet groups occur; small chromatic movements add to the eerieness. At approximately 48 minutes into the piece, clusters begin appearing in the piano part, and snaky microtonal inflections occur in the violin part; this is followed by chromatic scales in the piano part smeared with the sustaining pedal, and they are imitated almost in pitch unison by the violin playing in microtones, artificial harmonics and sul ponticello. This is truly a bizarre sound. All certainty assured by the traditional relation to pitch is gradually obscured. Gesture and shape become the prime vocabulary. The distorting mirror gradually becomes clear again. The piano provides an ascending ladder of tuning points adding up to more complex harmony than that of the beginning. There is a return to more energetic patterns. And then to the ascending chromatics (3 to 5 note patterns). The piece concludes with a slow 5-note ascending cluster. We are left with a great mystery simply expressed. "It's a little piece for violin and piano, but it doesn't quit" (Feldman in conversation with composer Peter Gena). [allmusic.com] Art by John Cage -
30:56Morton Feldman ~ Five Pianos
Morton Feldman ~ Five Pianos -
75:24Morton Feldman - Piano, Violin, Viola, Cello (1987)
Morton Feldman - Piano, Violin, Viola, Cello (1987)Morton Feldman - Piano, Violin, Viola, Cello (1987)
Morton Feldman | Piano, Violin, Viola, Cello | Bridge Records | 2015 -
133:55Morton Feldman - Violin & String Quartet
Morton Feldman - Violin & String QuartetMorton Feldman - Violin & String Quartet
Violin and String Quartet, for violin & string quartet (1985) Peter Rundel, violin Pellegrini-Quartett Morton Feldman's large scale work simply entitled Violin and String Quartet commences with the violin soloist contemplating the minor seventh interval A to G over and over again, in no predictable rhythmic configuration, while confronted by soft, dissonant chord clouds from the other musicians. The clouds quietly disintegrate as the entrances become more staggered. Ten minutes or so into the piece, Feldman refines the opening gestures, expanding the interval leaps, and voicing chord clusters in numerous configurations. At the 22-minute mark, Feldman arrives back where he started, but in a parallel universe, so to speak, with the aforementioned minor seventh transformed into a major ninth (G to A), the chord clouds fuller of body, and increased rhythmic momentum. Before you've noticed, the harmonic motion has grown more protracted when the time comes to switch discs. Continue listening, and you'll arrive at a soothing, yet somewhat darker lower-register variation on the opening material at the 13-minute mark (remember, we're on disc two). There's a poignant stretch of music between 26 and 31 minutes where the slowly reiterated chords take on a lush harmonic character, giving way to a section made up of staggered major ninths moving in opposite directions. Faster moving sustained chords ensue, but now coloured by discreetly placed pizzicatos, the first plucked notes we've heard in this piece. Soon all the instruments stack up the aforementioned minor ninth, sometimes in canon, sometimes together, all to intense, claustrophobic effect. An oasis in the form of a steady procession of short-breathed sustained chords lies ahead. On paper this music looks simple to play, even sight-read, yet to control the composer's pinpointed dynamics, rhythms, and articulations is easier said than done, let alone holding a listener's attention for nearly two hours. --Jed Distler Two hours of sighs, whispers, murmurs, and tremolos from a string quartet etherealized further by a solo violin floating above. That's what you get with this epic anti-epic from 1985 by Morton Feldman. Feldman's admirers regard him as the most significant composer of our time. It's a hard case to make for something so minimal; this piece in particular seems less like music than music's ghost -- a pure essence that denies anything remotely substantial or corporeal. 'Let's get out of here before it starts to develop,' Debussy once said to a friend following the exposition in the opening of a Beethoven symphony; Feldman's music is the ultimate manifestation of that stance. Unlike Webern, who sometimes did develop his tiny cells, if only for a moment, Feldman creates the smallest musical materials imaginable, only to have them slowly vanish. Still, Feldman is a distinct, instantly recognizable voice (or anti-voice) -- something that cannot be said for many recent composers. Feldman may not be the greatest composer of our time, as his cultish advocates assert, but he may well be the greatest for insomniacs. This mysterious, wispy stuff is very close to a pure dream state, perhaps the best 3 AM music ever. --Jack Sullivan Art by Sol LeWitt -
71:21Morton Feldman - For Bunita Marcus - Stephane Ginsburgh
Morton Feldman - For Bunita Marcus - Stephane GinsburghMorton Feldman - For Bunita Marcus - Stephane Ginsburgh
Morton Feldman - For Bunita Marcus (1985) Stephane Ginsburgh, piano Sub Rosa (2007) Artwork: Mark Rothko
Feldman, Morton Filmography
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2012, role: composer
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2009, role: composer
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2007, role: composer
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1997, role: composer
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1966, role: composer
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1966, role: composer
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1961, role: composer
Famous quotes by Morton Feldman:
"I've been living with the minor second all my life and I finally found a way to handle it."
"No one has the Houdini school of composition."
"Music is essentially built upon primitive memory structures."
"Since music has never had a Rembrandt, we have remained nothing more than musicians."
"I was once married to a woman who could eat anything and tell you what was in it: the most complicated recipes. Her memory of taste - now that's what I call memory!"
"Just what the hell is the experimental tradition?"
"Compositionally I always wanted to be like Fred Astaire."
"This business about being flung out of paradise is his gift to me. I'm glad I got out; it was getting too hot in there."
"I'm not suspicious, I'm just careful."
"If you think you might have secret information listening to me, you're lost."
"Any professional knows that the flute and the piano is a boring combination. All you've got to arrive at is a kind of typical gestural crap, right? You might agree, though you wouldn't call it gestural crap."
"The most interesting aspect for me, composing exclusively with patterns, is that there is not one organizational procedure more advantageous than another, perhaps because no one pattern ever takes precedence over the others."
"I never feel that my music is sparse or minimalist; the way fat people never really think they're fat. I certainly don't consider myself minimalist at all."
"For me it's the instrument. If I want to think of a flute and the state of the arts I hear a vibrato; I don't know what a flute is unless the person plays it for me."
"I want to give my compliments to Australia. Ever since your government paid a few million dollars for a Jackson Pollack painting, I figure that it must be a marvellous country."
Morton Feldman
ALBUMS
- Violin and Orchestra released: 2013
- Crippled Symmetry: At June in Buffalo released: 2012
- In a Silent Way released: 2009
- For Philip Guston released: 2008
- Strings, Keyboards, Percussion, Voices, Horn released: 2008
- For Christian Wolff (California E.A.R. Unit) released: 2008
- The Viola in My Life (Cikada Ensemble, Norwegian Radio Orchestra feat. conductor: Christian Eggen, viola: Marek Konstantynowicz) released: 2008
- For Bunita Marcus (piano: Stephane Ginsburgh) released: 2007
- John Cage: Music for Keyboard 1935-1948 / Morton Feldman: The Early Years released: 2007
- Aki Takahashi Plays Morton Feldman released: 2006
- String Quartet released: 2006
- Triadic Memories (piano: Sabine Liebner) released: 2005
- Composing By Number: The Graphic Scores 1950-67 released: 2005
- For Feldman released: 2004
- The Ecstasy of the Moment released: 2004
- Patterns in a Chromatic Field released: 2004
- Early Piano Works released: 2003
- Complete Violin|Viola and Piano Works released: 2003
- Early and Unknown Piano Works released: 2003
- Late Works With Clarinet released: 2003
- Three voices (Ensemble Accroche Note) released: 2003
- The Rothko Chapel, For Stephan Wolpe, Christian Wolff in Cambridge released: 2002
- Complete Works for Two Pianists released: 2002
- Voices & Instruments released: 2002
- Violin & String Quartet released: 2002
- Something Wild: Music for Film released: 2002
- Turfan Fragments released: 2001
- Violin and String Quartet released: 2001
- String Quartet (II) (Ives Ensemble) released: 2001
- Orchestral Works & Chamber Music released: 2000
- Neither (Symphonieorchester Des Bayerischen Rundfunks, feat. conductor Kwamé Ryan) released: 2000
- For Philip Guston (S.E.M. Ensemble) released: 2000
- Complete Music for Violin & Piano released: 2000
- Atlantis released: 2000
- Routine Investigations / The Viola in My Life I, II / For Frank O'Hara / I Met Heine on the Rue Fürstenburg released: 2000
- For John Cage released: 1999
- First Recordings: 1950s released: 1999
- All Piano released: 1999
- Coptic Light released: 1998
- Neither (Radio-Sinfonie-Orchester Frankfurt feat. conductor: Zoltán Peskó) released: 1997
- For Philip Guston (California EAR Unit) released: 1997
- Durations I-V, Coptic Light released: 1997
- Morton Feldman 2: Words and Music released: 1996
- Only released: 1996
- Chamber Music released: 1996
- Trio (1980) (Ives Ensemble) released: 1996
- New York School 3 released: 1995
- Clarinet and String Quartet (feat. clarinet: Ib Hausmann, Pellegrini Quartet) released: 1995
- The New York School released: 1995
- Crippled Symmetry (feat. Dietmar Wiesner, Markus Hinterhäuser, Robyn Schulkowsky) released: 1994
- Three Voices (soprano: Joan La Barbara) released: 1994
- Morton Feldman released: 1994
- For John Cage released: 1993
- For Bunita Marcus released: 1993
- Piano and String Quartet released: 1993
- For Samuel Beckett released: 1992
- For Philip Guston released: 1992
- For Christian Wolff released: 1992
- Triadic Memories released: 1991
- For Samuel Beckett (San Francisco Contemporary Music Players) released: 1991
- Works for Violin and Piano released: 1991
- Why Patterns? / Crippled Symmetry released: 1991
- Crippled Symmetry [I] released: 1991
- Pieces For More Than Two Hands released: 1991
- Rothko Chapel + Why Patterns? released: 1991
- Triadic Memories released: 1989
- Untitled Composition for Cello and Piano released: 1981
- Music for Piano and Strings (The Smith Quartet with John Tilbury) released:
- For Bunita Marcus (piano: Markus Hinterhäuser) released:
- Feldman: Viola in My Life etc - Feldman, Takahashi, Tudor et al. released:
- Piano and Orchestra / Flute and Orchestra / Oboe and Orchestra / Cello and Orchestra released:
- String Quartet (Ives Ensemble) released:
- Works for Piano 2 (Piano: Steffen Schleiermacher) released:
- Palais De Mari (Piano: Siegfried Mauser) released:
- For John Cage (Paul Zukofsky, violin & Marianne Schroeder, piano) released:
- Trio released:
- Crippled Symmetry (EAR Unit) released:
- String Quartet No. 2 (Flux Quartet) released:
- Patterns in a Chromatic Field released:
- Piano, Violin, Viola, Cello released:
- Piano and String Quartet released:
- For Samuel Beckett (Kammerensemble Neue Musik Berlin feat. conductor Roland Kluttig) released:
In a Silent Way
Released 2009- add to main playlist Play in Full Screen Nocturne
- add to main playlist Play in Full Screen Ophelia
- add to main playlist Play in Full Screen For Aaron Copland
- add to main playlist Play in Full Screen Dream
- add to main playlist Play in Full Screen Piano Piece to Philip Guston
- add to main playlist Play in Full Screen Melodies N°5
- add to main playlist Play in Full Screen Melodies N°6
- add to main playlist Play in Full Screen Eight Whiskus
- add to main playlist Play in Full Screen In a Landscape
- add to main playlist Play in Full Screen The Viola in My Life III
Strings, Keyboards, Percussion, Voices, Horn
Released 2008- add to main playlist Play in Full Screen Two Pieces [For Danny Stern]: 1. Allegro
- add to main playlist Play in Full Screen Two Pieces [For Danny Stern]: 2. Intermezzo
- add to main playlist Play in Full Screen Extensions 5
- add to main playlist Play in Full Screen Two Instruments
- add to main playlist Play in Full Screen Wind [For Naomi Newman]
- add to main playlist Play in Full Screen Followe Thy Faire Sunne
- add to main playlist Play in Full Screen Dance Suite [For Merle Marsicano]: I
- add to main playlist Play in Full Screen Dance Suite [For Merle Marsicano]: II
- add to main playlist Play in Full Screen Dance Suite [For Merle Marsicano]: III
- add to main playlist Play in Full Screen Dance Suite [For Merle Marsicano]: IV
- add to main playlist Play in Full Screen For Stockhausen, Cage, Stravinsky and Mary Sprinson
- add to main playlist Play in Full Screen Duo for Piano and Percussion
- add to main playlist Play in Full Screen The Gentlest Chord
- add to main playlist Play in Full Screen Clear Edge
- add to main playlist Play in Full Screen Pour un Nuage Violet
The Viola in My Life (Cikada Ensemble, Norwegian Radio Orchestra feat. conductor: Christian Eggen, viola: Marek Konstantynowicz)
Released 2008- add to main playlist Play in Full Screen The Viola in My Life No. 1 (Cikada Ensemble feat. viola: Marek Konstantynowicz, flute: Kjersti Wallden, percussion: Bjorn Rabben, piano: Kenneth Karlsson, violin: Odd Hannisdal, cello: Morten Hannisdal)
- add to main playlist Play in Full Screen The Viola in My Life No. 2 (Cikada Ensemble feat. viola: Marek Konstantynowicz, flute: Kjersti Wallden, percussion: Bjorn Rabben, cello: Morten Hannisdal, violin: Odd Hannisdal, celesta: Kenneth Karlsson, clarinet: Terje Lerstad)
- add to main playlist Play in Full Screen The Viola in My Life No. 3 (Cikada Ensemble feat. viola: Marek Konstantynowicz, piano: Kenneth Karlsson)
- add to main playlist Play in Full Screen The Viola in My Life No. 4 (Norwegian Radio Orchestra feat. conductor: Christian Eggen, viola: Marek Konstantynowicz)
John Cage: Music for Keyboard 1935-1948 / Morton Feldman: The Early Years
Released 2007- add to main playlist Play in Full Screen Two Pieces: I. Slowly
- add to main playlist Play in Full Screen Two Pieces: II. Quite Fast
- add to main playlist Play in Full Screen Metamorphosis
- add to main playlist Play in Full Screen Bacchanale
- add to main playlist Play in Full Screen The Perilous Night
- add to main playlist Play in Full Screen Tossed as It Is Untroubled
- add to main playlist Play in Full Screen A Valentine Out of Season
- add to main playlist Play in Full Screen Root of an Unfocus
- add to main playlist Play in Full Screen Two Pieces for Piano: I.
- add to main playlist Play in Full Screen Two Pieces for Piano: II.
Aki Takahashi Plays Morton Feldman
Released 2006- add to main playlist Play in Full Screen Illusions, Part 1
- add to main playlist Play in Full Screen Illusions, Part 2
- add to main playlist Play in Full Screen Illusions, Part 3
- add to main playlist Play in Full Screen Illusions, Part 4
- add to main playlist Play in Full Screen Two Intermissions, Part 1
- add to main playlist Play in Full Screen Two Intermissions, Part 2
- add to main playlist Play in Full Screen Extensions 3
- add to main playlist Play in Full Screen Piano Piece (1955)
- add to main playlist Play in Full Screen Piano Piece (to Philip Guston)
- add to main playlist Play in Full Screen Piano
- add to main playlist Play in Full Screen Palais de Mari
Composing By Number: The Graphic Scores 1950-67
Released 2005- add to main playlist Play in Full Screen Projection I (1950)
- add to main playlist Play in Full Screen Projection II (1951)
- add to main playlist Play in Full Screen Projection III (1951)
- add to main playlist Play in Full Screen Projection IV (1951)
- add to main playlist Play in Full Screen Projection V (1951)
- add to main playlist Play in Full Screen Intersection I (1951)
- add to main playlist Play in Full Screen Marginal Intersection (1951)
- add to main playlist Play in Full Screen Intersection II (1951)
- add to main playlist Play in Full Screen Intersection III (1953)
- add to main playlist Play in Full Screen Intersection IV (1953)
- add to main playlist Play in Full Screen Out Of 'Last Pieces' (1961)
- add to main playlist Play in Full Screen The Straits Of Magellan (1961)
- add to main playlist Play in Full Screen In Search Of An Orchestration (1967)
For Feldman
Released 2004- add to main playlist Play in Full Screen mf
- add to main playlist Play in Full Screen Two Pieces for String Quartet: I
- add to main playlist Play in Full Screen Two Pieces for String Quartet: II
- add to main playlist Play in Full Screen of Shade to Light
- add to main playlist Play in Full Screen For String Quartet
- add to main playlist Play in Full Screen New England, Late Summer
- add to main playlist Play in Full Screen Three Pieces for String Quartet: I
- add to main playlist Play in Full Screen Three Pieces for String Quartet: II
- add to main playlist Play in Full Screen Three Pieces for String Quartet: III
- add to main playlist Play in Full Screen as beautiful as a crescent of a new moon on a cloudless spring evening
The Ecstasy of the Moment
Released 2004- add to main playlist Play in Full Screen Only (1947)
- add to main playlist Play in Full Screen Projection 1
- add to main playlist Play in Full Screen Projection 2
- add to main playlist Play in Full Screen Projection 3
- add to main playlist Play in Full Screen Projection 4
- add to main playlist Play in Full Screen Projection 5
- add to main playlist Play in Full Screen Intersection 2
- add to main playlist Play in Full Screen Intersection 3
- add to main playlist Play in Full Screen Intersection 4
- add to main playlist Play in Full Screen Piece for Four Pianos
- add to main playlist Play in Full Screen Two Pianos
- add to main playlist Play in Full Screen Piano Four Hands
- add to main playlist Play in Full Screen Piano Piece 1964
Early Piano Works
Released 2003- add to main playlist Play in Full Screen Two Intermissions: I
- add to main playlist Play in Full Screen Two Intermissions: II
- add to main playlist Play in Full Screen Piano Piece (1952)
- add to main playlist Play in Full Screen Intermission V
- add to main playlist Play in Full Screen Intermission VI
- add to main playlist Play in Full Screen Three Pieces: I
- add to main playlist Play in Full Screen Three Pieces: II
- add to main playlist Play in Full Screen Three Pieces: III
- add to main playlist Play in Full Screen Piano Piece (1955)
- add to main playlist Play in Full Screen Piano Piece (1956 a)
- add to main playlist Play in Full Screen Piano Piece (1956 B)
- add to main playlist Play in Full Screen Last Pieces: I
- add to main playlist Play in Full Screen Last Pieces: II
- add to main playlist Play in Full Screen Last Pieces: III
- add to main playlist Play in Full Screen Last Pieces: IV
- add to main playlist Play in Full Screen Piano Piece to Philip Guston
- add to main playlist Play in Full Screen Piano Piece (1964)
Complete Violin|Viola and Piano Works
Released 2003- add to main playlist Play in Full Screen [Sonata] for Violin and Piano: I. Allegro
- add to main playlist Play in Full Screen [Sonata] for Violin and Piano: II. Andante affettuoso
- add to main playlist Play in Full Screen [Sonata] for Violin and Piano: III. Allegro vivace
- add to main playlist Play in Full Screen Piece
- add to main playlist Play in Full Screen Projection 4
- add to main playlist Play in Full Screen Extensions 1
- add to main playlist Play in Full Screen Vertical Thoughts 2
- add to main playlist Play in Full Screen The Viola in My Life 3
- add to main playlist Play in Full Screen Spring of Chosroes
- add to main playlist Play in Full Screen [Composition] for Violin
Early and Unknown Piano Works
Released 2003- add to main playlist Play in Full Screen First Piano Sonata [To Bela Bartok]
- add to main playlist Play in Full Screen Preludio
- add to main playlist Play in Full Screen Self Portrait
- add to main playlist Play in Full Screen Three Dances: I
- add to main playlist Play in Full Screen Three Dances: II
- add to main playlist Play in Full Screen Three Dances: III
- add to main playlist Play in Full Screen For Cynthia
- add to main playlist Play in Full Screen Two Pieces for Three Pianos: I
- add to main playlist Play in Full Screen Two Pieces for Three Pianos: II
Complete Works for Two Pianists
Released 2002- add to main playlist Play in Full Screen Vertical Thoughts 1 for Two Pianos
- add to main playlist Play in Full Screen Intermission 6 for One or Two Pianos
- add to main playlist Play in Full Screen Projection 3 for Two Pianos
- add to main playlist Play in Full Screen Intermission 6 for One or Two Pianos
- add to main playlist Play in Full Screen Two Pieces for Two Pianos
- add to main playlist Play in Full Screen Piano (Three Hands)
- add to main playlist Play in Full Screen Intermission 6 for One or Two Pianos
- add to main playlist Play in Full Screen Piano for Four Hands
- add to main playlist Play in Full Screen Work for Two Pianists
- add to main playlist Play in Full Screen Ixion for Two Pianos
- add to main playlist Play in Full Screen Intermission 6 for One or Two Pianos
- add to main playlist Play in Full Screen Two Pianos
Voices & Instruments
Released 2002- add to main playlist Play in Full Screen Journey to the End of Night I
- add to main playlist Play in Full Screen Journey to the End of Night II
- add to main playlist Play in Full Screen Journey to the End of Night III
- add to main playlist Play in Full Screen Journey to the End of Night IV
- add to main playlist Play in Full Screen Between Categories
- add to main playlist Play in Full Screen Intervals I
- add to main playlist Play in Full Screen Intervals II
- add to main playlist Play in Full Screen Intervals III
- add to main playlist Play in Full Screen Intervals IV
- add to main playlist Play in Full Screen Three Clarinets, Cello and Piano
- add to main playlist Play in Full Screen Four Songs to E.E. Cummings: !Blac
- add to main playlist Play in Full Screen Four Songs to E.E. Cummings: Air
- add to main playlist Play in Full Screen Four Songs to E.E. Cummings: (Sitting in a Tree)
- add to main playlist Play in Full Screen Four Songs to E.E. Cummings: (Moan)
- add to main playlist Play in Full Screen Four Instruments
- add to main playlist Play in Full Screen The O'Hara Songs I
- add to main playlist Play in Full Screen The O'Hara Songs II
- add to main playlist Play in Full Screen The O'Hara Songs III
Something Wild: Music for Film
Released 2002- add to main playlist Play in Full Screen Something Wild in the City: Mary Ann's Theme (1960)
- add to main playlist Play in Full Screen Jackson Pollock (1950-51): I Signature
- add to main playlist Play in Full Screen Jackson Pollock (1950-51): II Pollock paints
- add to main playlist Play in Full Screen Jackson Pollock (1950-51): III Shadow
- add to main playlist Play in Full Screen Jackson Pollock (1950-51): IV Detail of Painting
- add to main playlist Play in Full Screen Jackson Pollock (1950-51): (Interlude)
- add to main playlist Play in Full Screen Jackson Pollock (1950-51): V Painting on Glass
- add to main playlist Play in Full Screen Jackson Pollock (1950-51): VI Painting on Glass (2nd sequence)
- add to main playlist Play in Full Screen Samoa (1968): I
- add to main playlist Play in Full Screen Samoa (1968): II
- add to main playlist Play in Full Screen Samoa (1968): III
- add to main playlist Play in Full Screen Samoa (1968): IV
- add to main playlist Play in Full Screen Samoa (1968): V
- add to main playlist Play in Full Screen For Aaron Copland (1981)
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: Cue I - Cue III Ending at A
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: A
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: Cue II, very soft
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: Cue IIA, very soft
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: Cue IV- IV A, very soft
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: Cue V Solo Cello
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: Cue V A
- add to main playlist Play in Full Screen The Sin of Jesus (1960-61) [score for untitled film]: Cue VI
- add to main playlist Play in Full Screen [Untitled film music] (1960): Intro
- add to main playlist Play in Full Screen [Untitled film music] (1960): City
- add to main playlist Play in Full Screen [Untitled film music] (1960): Drinking Water
- add to main playlist Play in Full Screen [Untitled film music] (1960): Into Sheep Country
- add to main playlist Play in Full Screen [Untitled film music] (1960): Theme
- add to main playlist Play in Full Screen [Untitled film music] (1960): King-Cross Night
- add to main playlist Play in Full Screen [Untitled film music] (1960): The Park
- add to main playlist Play in Full Screen [Untitled film music] (1960): The Beach
- add to main playlist Play in Full Screen [Untitled film music] (1960): Last Shot
- add to main playlist Play in Full Screen [Untitled film music] (1960): Desert
- add to main playlist Play in Full Screen De Kooning (1963)
Neither (Symphonieorchester Des Bayerischen Rundfunks, feat. conductor Kwamé Ryan)
Released 2000- add to main playlist Play in Full Screen 02
- add to main playlist Play in Full Screen 03
- add to main playlist Play in Full Screen 04
- add to main playlist Play in Full Screen 05
- add to main playlist Play in Full Screen 06
- add to main playlist Play in Full Screen 07
- add to main playlist Play in Full Screen 08
- add to main playlist Play in Full Screen 09
- add to main playlist Play in Full Screen 10
- add to main playlist Play in Full Screen 11
- add to main playlist Play in Full Screen 12
Complete Music for Violin & Piano
Released 2000- add to main playlist Play in Full Screen Piece for Piano and Violin
- add to main playlist Play in Full Screen Projection 4
- add to main playlist Play in Full Screen Extensions 1
- add to main playlist Play in Full Screen Vertical Thoughts 2
- add to main playlist Play in Full Screen Spring of Chosroes
- add to main playlist Play in Full Screen For John Cage (Beginning)
Routine Investigations / The Viola in My Life I, II / For Frank O'Hara / I Met Heine on the Rue Fürstenburg
Released 2000- add to main playlist Play in Full Screen Routine Investigations
- add to main playlist Play in Full Screen The Viola in My Life II
- add to main playlist Play in Full Screen For Frank O'Hara
- add to main playlist Play in Full Screen The Viola in My Life I
- add to main playlist Play in Full Screen I Met Heine on the Rue Fürstenburg
First Recordings: 1950s
Released 1999- add to main playlist Play in Full Screen Intersection
- add to main playlist Play in Full Screen Nature Pieces 1
- add to main playlist Play in Full Screen Nature Pieces 2
- add to main playlist Play in Full Screen Nature Pieces 3
- add to main playlist Play in Full Screen Nature Pieces 4
- add to main playlist Play in Full Screen Nature Pieces 5
- add to main playlist Play in Full Screen Variations
- add to main playlist Play in Full Screen Extensions 1
- add to main playlist Play in Full Screen Extensions 3, Unpublished Version
- add to main playlist Play in Full Screen Extensions 4
- add to main playlist Play in Full Screen Piece for Violin & Piano
- add to main playlist Play in Full Screen Two Intermissions 1
- add to main playlist Play in Full Screen Two Intermissions 2
- add to main playlist Play in Full Screen Intermission 3
- add to main playlist Play in Full Screen Intermission 4
- add to main playlist Play in Full Screen Intermission 5
- add to main playlist Play in Full Screen Intermission 6a
- add to main playlist Play in Full Screen Intermission 6b
- add to main playlist Play in Full Screen Music for Jackson Pollock
- add to main playlist Play in Full Screen Music for Jackson Pollock: I. Signature
- add to main playlist Play in Full Screen Music for Jackson Pollock: II. Jackson Pollock Speaks
- add to main playlist Play in Full Screen Music for Jackson Pollock: III. Pollock Paints
- add to main playlist Play in Full Screen Music for Jackson Pollock: III. Shadow
- add to main playlist Play in Full Screen Music for Jackson Pollock: IV. Glass
- add to main playlist Play in Full Screen Music for Jackson Pollock: V. Glass - Second Sequence
All Piano
Released 1999- add to main playlist Play in Full Screen Piano Piece (To Philip Guston)
- add to main playlist Play in Full Screen Three Pieces for Piano: I
- add to main playlist Play in Full Screen Three Pieces for Piano: II
- add to main playlist Play in Full Screen Three Pieces for Piano: III
- add to main playlist Play in Full Screen Extensions 3
- add to main playlist Play in Full Screen Intermission 6
- add to main playlist Play in Full Screen Intersection 2
- add to main playlist Play in Full Screen Last Pieces: I
- add to main playlist Play in Full Screen Last Pieces: II
- add to main playlist Play in Full Screen Last Pieces: III
- add to main playlist Play in Full Screen Last Pieces: IV
- add to main playlist Play in Full Screen Piano Piece 1956 A (To Cynthia)
- add to main playlist Play in Full Screen Piano Piece 1956 B
- add to main playlist Play in Full Screen Intermission 5
- add to main playlist Play in Full Screen Piano Piece 1955
- add to main playlist Play in Full Screen Piano Piece 1964
- add to main playlist Play in Full Screen Two Intermissions: I
- add to main playlist Play in Full Screen Two Intermissions: II
- add to main playlist Play in Full Screen Vertical Thoughts 4
- add to main playlist Play in Full Screen Intersection 3
- add to main playlist Play in Full Screen Piano Piece 1952
Durations I-V, Coptic Light
Released 1997- add to main playlist Play in Full Screen Durations I
- add to main playlist Play in Full Screen Durations II
- add to main playlist Play in Full Screen Durations III - Slow
- add to main playlist Play in Full Screen Durations III - Very slow
- add to main playlist Play in Full Screen Durations III - Slow
- add to main playlist Play in Full Screen Durations III - Fast
- add to main playlist Play in Full Screen Durations IV
- add to main playlist Play in Full Screen Durations V
- add to main playlist Play in Full Screen Coptic Light
Only
Released 1996- add to main playlist Play in Full Screen Only
- add to main playlist Play in Full Screen Voice, Violin and Piano
- add to main playlist Play in Full Screen Vertical Thoughts 5
- add to main playlist Play in Full Screen For Franz Kline
- add to main playlist Play in Full Screen Voices and Cello
- add to main playlist Play in Full Screen Pianos and Voices
- add to main playlist Play in Full Screen Only
Chamber Music
Released 1996- add to main playlist Play in Full Screen For Franz Kline
- add to main playlist Play in Full Screen The O'Hara Songs: I
- add to main playlist Play in Full Screen The O'Hara Songs: II
- add to main playlist Play in Full Screen The O'Hara Songs: III
- add to main playlist Play in Full Screen De Kooning
- add to main playlist Play in Full Screen Piano Piece (to Philip Guston)
- add to main playlist Play in Full Screen Four Instruments
- add to main playlist Play in Full Screen For Frank O'Hara
New York School 3
Released 1995- add to main playlist Play in Full Screen 1991 (version 1)
- add to main playlist Play in Full Screen For Ann (version 1)
- add to main playlist Play in Full Screen 1980 (version 1)
- add to main playlist Play in Full Screen Edges (version 1)
- add to main playlist Play in Full Screen Variations III (version 1)
- add to main playlist Play in Full Screen Give My Regards to Eighth Street
- add to main playlist Play in Full Screen Variations III (version 2)
- add to main playlist Play in Full Screen Edges (version 2)
- add to main playlist Play in Full Screen 1991 (version 2)
- add to main playlist Play in Full Screen For Ann (version 2)
- add to main playlist Play in Full Screen 1980 (version 2)
Clarinet and String Quartet (feat. clarinet: Ib Hausmann, Pellegrini Quartet)
Released 1995- add to main playlist Play in Full Screen Two Pieces for Clarinet and String Quartet (1961) No.1
- add to main playlist Play in Full Screen Two Pieces for Clarinet and String Quartet (1961) No.2
- add to main playlist Play in Full Screen Clarinet and String Quartet (1983)
- add to main playlist Play in Full Screen Two Pieces for Clarinet and String Quartet (1961) No.1 (Second version)
- add to main playlist Play in Full Screen Two Pieces for Clarinet and String Quartet (1961) No.2 (Second version)
The New York School
Released 1995- add to main playlist Play in Full Screen Folio: October 1952
- add to main playlist Play in Full Screen Folio: November 1952 ("Synergy")
- add to main playlist Play in Full Screen Folio: December 1952
- add to main playlist Play in Full Screen Folio: MM-87
- add to main playlist Play in Full Screen Folio: MM-135, March 1953
- add to main playlist Play in Full Screen Folio: Music for "Trio for Five Dancers", June 1953
- add to main playlist Play in Full Screen Folio: 1953
- add to main playlist Play in Full Screen Music for Cello and Piano (1954)
- add to main playlist Play in Full Screen Variations I (1958)
- add to main playlist Play in Full Screen Seven haiku (1951/1952)
- add to main playlist Play in Full Screen Solo for Flute, Alto Flute and Piccolo (1957/1958)
- add to main playlist Play in Full Screen Projection 1 (1950)
- add to main playlist Play in Full Screen Extension 3 (1953)
- add to main playlist Play in Full Screen Intersection 4 (1953)
- add to main playlist Play in Full Screen Duration 2 (1960)
- add to main playlist Play in Full Screen For Prepared Piano (1951)
- add to main playlist Play in Full Screen For 1, 2, or 3 People (1964)
Three Voices (soprano: Joan La Barbara)
Released 1994- add to main playlist Play in Full Screen Three Voices: Opening
- add to main playlist Play in Full Screen Three Voices: Legato
- add to main playlist Play in Full Screen Three Voices: Slow Waltz
- add to main playlist Play in Full Screen Three Voices: First Words
- add to main playlist Play in Full Screen Three Voices: Whisper
- add to main playlist Play in Full Screen Three Voices: Chords
- add to main playlist Play in Full Screen Three Voices: A Non Accented Legato
- add to main playlist Play in Full Screen Three Voices: Snow Falls
- add to main playlist Play in Full Screen Three Voices: Legato
- add to main playlist Play in Full Screen Three Voices: Slow Waltz and Ending
Morton Feldman
Released 1994- add to main playlist Play in Full Screen Piano (Three Hands)
- add to main playlist Play in Full Screen Intermission 5
- add to main playlist Play in Full Screen Vertical Thoughts 2
- add to main playlist Play in Full Screen Extensions 3
- add to main playlist Play in Full Screen Four Instruments
- add to main playlist Play in Full Screen Intermission 5
- add to main playlist Play in Full Screen Piano Piece 1956 A
- add to main playlist Play in Full Screen Piano Piece 1956 B
- add to main playlist Play in Full Screen Intersection 3
- add to main playlist Play in Full Screen Instruments 1
For John Cage
Released 1993- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
- add to main playlist Play in Full Screen For John Cage
Works for Violin and Piano
Released 1991- add to main playlist Play in Full Screen Spring of Chosroes
- add to main playlist Play in Full Screen Sonata for Violin and Piano: I. Allegro ma non troppo
- add to main playlist Play in Full Screen Sonata for Violin and Piano: II. Allegretto poco vivace
- add to main playlist Play in Full Screen Sonata for Violin and Piano: III. Adagio
- add to main playlist Play in Full Screen Sonata for Violin and Piano: IV. Vivace
Pieces For More Than Two Hands
Released 1991- add to main playlist Play in Full Screen Piece for Four Pianos (1957)
- add to main playlist Play in Full Screen Intermission VI (1953)
- add to main playlist Play in Full Screen Piano - Four Hands (1958)
- add to main playlist Play in Full Screen Two Pieces for Two Pianos (1954)
- add to main playlist Play in Full Screen Two Pianos (1957)
- add to main playlist Play in Full Screen Five Pianos (1972)
Rothko Chapel + Why Patterns?
Released 1991- add to main playlist Play in Full Screen Rothko Chapel 1
- add to main playlist Play in Full Screen Rothko Chapel 2
- add to main playlist Play in Full Screen Rothko Chapel 3
- add to main playlist Play in Full Screen Rothko Chapel 4
- add to main playlist Play in Full Screen Rothko Chapel 5
- add to main playlist Play in Full Screen Why Patterns?
Untitled Composition for Cello and Piano
Released 1981- add to main playlist Play in Full Screen 1.1
- add to main playlist Play in Full Screen 1.2
- add to main playlist Play in Full Screen 1.3
- add to main playlist Play in Full Screen 1.4
- add to main playlist Play in Full Screen 1.5
- add to main playlist Play in Full Screen 1.6
- add to main playlist Play in Full Screen 1.7
- add to main playlist Play in Full Screen 1.8
- add to main playlist Play in Full Screen 1.9
Feldman: Viola in My Life etc - Feldman, Takahashi, Tudor et al.
- add to main playlist Play in Full Screen The Viola in My Life, Part 1 (1970)
- add to main playlist Play in Full Screen The Viola in My Life, Part 2 (1970)
- add to main playlist Play in Full Screen The Viola in My Life, Part 3 (1970)
- add to main playlist Play in Full Screen False Relationships and the Extended Ending (1968)
- add to main playlist Play in Full Screen Why Patterns? (1978)
Works for Piano 2 (Piano: Steffen Schleiermacher)
- add to main playlist Play in Full Screen Intermission V
- add to main playlist Play in Full Screen Piano Piece
- add to main playlist Play in Full Screen Two Intermissions
- add to main playlist Play in Full Screen Last Pieces
- add to main playlist Play in Full Screen Intermission VI
- add to main playlist Play in Full Screen Five Pianos
Palais De Mari (Piano: Siegfried Mauser)
- add to main playlist Play in Full Screen Palais De Mari
- add to main playlist Play in Full Screen Nature Pieces I
- add to main playlist Play in Full Screen Nature Pieces II
- add to main playlist Play in Full Screen Nature Pieces III
- add to main playlist Play in Full Screen Nature Pieces IV
- add to main playlist Play in Full Screen Nature Pieces V
- add to main playlist Play in Full Screen Three Dances I
- add to main playlist Play in Full Screen Three Dances II
- add to main playlist Play in Full Screen Three Dances III
- add to main playlist Play in Full Screen Intermisson I
- add to main playlist Play in Full Screen Intermisson II
- add to main playlist Play in Full Screen Intermisson III
- add to main playlist Play in Full Screen Intermisson IV
- add to main playlist Play in Full Screen Intermisson V
- add to main playlist Play in Full Screen Intermisson VI
For John Cage (Paul Zukofsky, violin & Marianne Schroeder, piano)
- add to main playlist Play in Full Screen (0:00)
- add to main playlist Play in Full Screen (10:00)
- add to main playlist Play in Full Screen (20:00)
- add to main playlist Play in Full Screen (30:00)
- add to main playlist Play in Full Screen (40:00)
- add to main playlist Play in Full Screen (50:00)
- add to main playlist Play in Full Screen (60:00)
- add to main playlist Play in Full Screen (70:00)
String Quartet No. 2 (Flux Quartet)
- add to main playlist Play in Full Screen String Quartet No. 2 (pages 101-104)
- add to main playlist Play in Full Screen String Quartet No. 2 (pages 105-109)
- add to main playlist Play in Full Screen String Quartet No. 2 (pages 110-114)
- add to main playlist Play in Full Screen String Quartet No. 2 (pages 115-119)
- add to main playlist Play in Full Screen String Quartet No. 2 (pages 120-124)
Born: 1926-01-12
Died: 1987-09-03
-
Morton Feldman For Philip Guston
Morton Feldman - For Philip Guston, 1984. S.E.M. Ensemble (Petr Kotik, flute(s). Joseph Kubera, piano/celesta. Chris Nappi, percussion) Released 2000
published: 17 May 2013 -
Morton Feldman ~ Rothko Chapel
Rothko Chapel Morton Feldman *Gregg Smith conducting*
published: 03 Oct 2013 -
Morton Feldman - Triadic Memories (Louis Goldstein)
Morton Feldman | Triadic Memories | Louis Goldstein: Piano | Offseason Productions | 2000
published: 24 Mar 2013 -
Morton Feldman - Piano and String Quartet (1985)
Midsummer Chamber Music Festival Harpa Concert Hall, Reykjavik (Iceland) June 20, 2013 Víkingur Ólafsson (piano) Sigrún Edvaldsdóttir (violin) Bryndís Halla Gylfadóttir (cello) Una Sveinbjarnardóttir (violin) Thórunn Ósk Marinósdóttir (cello)
published: 18 Jul 2016 -
Mode 112: Morton Feldman - String Quartet No. 2
[excerpt] FLUX Quartet 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 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 on...
published: 06 Jun 2011 -
Morton Feldman - For John Cage
For John Cage, for violin & piano (1982) Stephen Clarke, piano Marc Sabat, violin Morton Feldman's "For John Cage" scored for violin and piano, approximately 70 minutes long, was composed in 1982. This was during the last period of Feldman's creative activity when made several works of extended listening durations, like the "Triadic Memories" (1981), "Patterns in a Chromatic Field" (also known as "Untitled Composition for Cello and Piano" (1981), "Crippled Symmetry" (1983), the 80-minute "String Quartet" (1979), the 43-minute ensemble piece "For Samuel Beckett" (1987), and the more than 4 and 1/2 hours of "For Philip Guston". In his ensemble works, Feldman assigned certain identifiable gestures to certain individual instruments and instrumental groups, and these gestures would be repeate...
published: 15 Nov 2015 -
Morton Feldman ~ Five Pianos
Five Pianos Morton Feldman (1972) *Le Bureau des Pianistes*
published: 02 Oct 2013 -
Morton Feldman - Piano, Violin, Viola, Cello (1987)
Morton Feldman | Piano, Violin, Viola, Cello | Bridge Records | 2015
published: 01 Sep 2016 -
Morton Feldman - Violin & String Quartet
Violin and String Quartet, for violin & string quartet (1985) Peter Rundel, violin Pellegrini-Quartett Morton Feldman's large scale work simply entitled Violin and String Quartet commences with the violin soloist contemplating the minor seventh interval A to G over and over again, in no predictable rhythmic configuration, while confronted by soft, dissonant chord clouds from the other musicians. The clouds quietly disintegrate as the entrances become more staggered. Ten minutes or so into the piece, Feldman refines the opening gestures, expanding the interval leaps, and voicing chord clusters in numerous configurations. At the 22-minute mark, Feldman arrives back where he started, but in a parallel universe, so to speak, with the aforementioned minor seventh transformed into a major nint...
published: 01 Mar 2014 -
Morton Feldman - For Bunita Marcus - Stephane Ginsburgh
Morton Feldman - For Bunita Marcus (1985) Stephane Ginsburgh, piano Sub Rosa (2007) Artwork: Mark Rothko
published: 22 Jan 2014
Morton Feldman For Philip Guston
- Order: Reorder
- Duration: 288:33
- Updated: 17 May 2013
- views: 71785
Morton Feldman - For Philip Guston, 1984.
S.E.M. Ensemble (Petr Kotik, flute(s). Joseph Kubera, piano/celesta. Chris Nappi, percussion) Released 2000
Morton Feldman - For Philip Guston, 1984.
S.E.M. Ensemble (Petr Kotik, flute(s). Joseph Kubera, piano/celesta. Chris Nappi, percussion) Released 2000
wn.com/Morton Feldman For Philip Guston
Morton Feldman - For Philip Guston, 1984.
S.E.M. Ensemble (Petr Kotik, flute(s). Joseph Kubera, piano/celesta. Chris Nappi, percussion) Released 2000
- published: 17 May 2013
- views: 71785
Morton Feldman ~ Rothko Chapel
- Order: Reorder
- Duration: 25:46
- Updated: 03 Oct 2013
- views: 90918
Morton Feldman - Triadic Memories (Louis Goldstein)
- Order: Reorder
- Duration: 112:25
- Updated: 24 Mar 2013
- views: 43055
Morton Feldman | Triadic Memories | Louis Goldstein: Piano | Offseason Productions | 2000
- published: 24 Mar 2013
- views: 43055
Morton Feldman - Piano and String Quartet (1985)
- Order: Reorder
- Duration: 83:56
- Updated: 18 Jul 2016
- views: 4
Midsummer Chamber Music Festival
Harpa Concert Hall, Reykjavik (Iceland)
June 20, 2013
Víkingur Ólafsson (piano)
Sigrún Edvaldsdóttir (violin)
Bryndís Halla ...
Midsummer Chamber Music Festival
Harpa Concert Hall, Reykjavik (Iceland)
June 20, 2013
Víkingur Ólafsson (piano)
Sigrún Edvaldsdóttir (violin)
Bryndís Halla Gylfadóttir (cello)
Una Sveinbjarnardóttir (violin)
Thórunn Ósk Marinósdóttir (cello)
wn.com/Morton Feldman Piano And String Quartet (1985)
Midsummer Chamber Music Festival
Harpa Concert Hall, Reykjavik (Iceland)
June 20, 2013
Víkingur Ólafsson (piano)
Sigrún Edvaldsdóttir (violin)
Bryndís Halla Gylfadóttir (cello)
Una Sveinbjarnardóttir (violin)
Thórunn Ósk Marinósdóttir (cello)
- published: 18 Jul 2016
- views: 4
Mode 112: Morton Feldman - String Quartet No. 2
- Order: Reorder
- Duration: 32:12
- Updated: 06 Jun 2011
- views: 16733
[excerpt]
FLUX Quartet
In the 1970s Feldman took up the study and collecting of antique Turkish rugs, a highly evolved and exquisite folk art. The rugs are ...
[excerpt]
FLUX Quartet
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 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.
Lasting more than six continuous hours, it is "a disorienting, transfixing experience that repeatedly approached and touched the sublime." - Alex Ross, in his review of the FLUX Quartet's New York City performance in The New Yorker.
String Quartet 2's score is 124 pages, at one tempo marking of 63-66 beats per minute - as such, a slow tempo. Feldman idiosyncratically sets the bars, so one page may last as little as about half a minute or as much as nearly seven minutes.
"A very exciting quartet composed of four young men...who have lots of ideas and clearly enjoy making music together," - Anthony Tommasini, NY Times, the FLUX Quartet has performed to rave reviews at many music centers around the world. FLUX have performed Quartet 2 in concert numerous times and know the score intimately. The FLUX Quartet's repertoire consists of notable pioneers as well as visionaries of tomorrow - from "classics" by Nancarrow, Ligeti, and Cage, to works by John Zorn, Ornette Coleman, Oliver Lake, and tenor balloonist Judy Dunaway.
This deluxe set features liner notes by Feldman's colleague Christian Wolff, mixing personal experiences and recollections with analysis; and by FLUX founder Tom Chiu who writes of the "experience" of performing such a large-scale work.
One can experience the work uninterrupted - complete, with no need to change discs - on the DVD Edition; along with the thrilling realism of uncompressed 24-bit PCM sound. This audio-only DVD can be played on any DVD player (note: there are no visuals).
For ease of navigation, both the DVD and CD versions have many track points (approximately every 5-6 pages of the score) which allow you to navigate through the disc(s) and the piece. The tracks are identical for both the DVD and CD.
wn.com/Mode 112 Morton Feldman String Quartet No. 2
[excerpt]
FLUX Quartet
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 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.
Lasting more than six continuous hours, it is "a disorienting, transfixing experience that repeatedly approached and touched the sublime." - Alex Ross, in his review of the FLUX Quartet's New York City performance in The New Yorker.
String Quartet 2's score is 124 pages, at one tempo marking of 63-66 beats per minute - as such, a slow tempo. Feldman idiosyncratically sets the bars, so one page may last as little as about half a minute or as much as nearly seven minutes.
"A very exciting quartet composed of four young men...who have lots of ideas and clearly enjoy making music together," - Anthony Tommasini, NY Times, the FLUX Quartet has performed to rave reviews at many music centers around the world. FLUX have performed Quartet 2 in concert numerous times and know the score intimately. The FLUX Quartet's repertoire consists of notable pioneers as well as visionaries of tomorrow - from "classics" by Nancarrow, Ligeti, and Cage, to works by John Zorn, Ornette Coleman, Oliver Lake, and tenor balloonist Judy Dunaway.
This deluxe set features liner notes by Feldman's colleague Christian Wolff, mixing personal experiences and recollections with analysis; and by FLUX founder Tom Chiu who writes of the "experience" of performing such a large-scale work.
One can experience the work uninterrupted - complete, with no need to change discs - on the DVD Edition; along with the thrilling realism of uncompressed 24-bit PCM sound. This audio-only DVD can be played on any DVD player (note: there are no visuals).
For ease of navigation, both the DVD and CD versions have many track points (approximately every 5-6 pages of the score) which allow you to navigate through the disc(s) and the piece. The tracks are identical for both the DVD and CD.
- published: 06 Jun 2011
- views: 16733
Morton Feldman - For John Cage
- Order: Reorder
- Duration: 81:57
- Updated: 15 Nov 2015
- views: 8317
For John Cage, for violin & piano (1982)
Stephen Clarke, piano
Marc Sabat, violin
Morton Feldman's "For John Cage" scored for violin and piano, approximately ...
For John Cage, for violin & piano (1982)
Stephen Clarke, piano
Marc Sabat, violin
Morton Feldman's "For John Cage" scored for violin and piano, approximately 70 minutes long, was composed in 1982. This was during the last period of Feldman's creative activity when made several works of extended listening durations, like the "Triadic Memories" (1981), "Patterns in a Chromatic Field" (also known as "Untitled Composition for Cello and Piano" (1981), "Crippled Symmetry" (1983), the 80-minute "String Quartet" (1979), the 43-minute ensemble piece "For Samuel Beckett" (1987), and the more than 4 and 1/2 hours of "For Philip Guston". In his ensemble works, Feldman assigned certain identifiable gestures to certain individual instruments and instrumental groups, and these gestures would be repeated on long, asymmetrical time schedules. The rhythms would be gradually offset, the pitches would move through harmonic fields that would be outlined by changes in the single pitches, note duration and consequently coordination between parts would either be conventionally notated or be indeterminate and left to the choice of the performers. The resulting ensemble image would be like floating layers of sound passing each other and combining in various ways. In a work with only two instruments, such as this, the gradual modification of rhythm and other elements, is highlighted. In Feldman's earlier works, notes would be relatively isolated, and every once in a while a motoric "loop" would be created from a sequence of notes, and would be repeated more or less without change for a brief period. In this work, these looping patterns pre-dominate. The violin and piano sometimes imitate each other, exchange parts, but most often share a pattern divided between themselves. The patterns, although simple, are unpredictable both in their shape, their subtle modification in timbre, tempo, articulation (attack, non-attack) and their number of repetitions, or singular statement. There is no sense of traditional linear development, and there is, really, no exact repetition. Certain remarkable illusionary passages occur, for example, when the two instruments exchange parts: after a long time of single note repeats in the piano and two-note gestures in the violin, at approximately 20 minutes into the piece, the violin begins pulsing (at different tempi) and the piano plays two-note figure in the high and low registers. The effect on the listener is difficult to explain in previous musical terms, but the piano and violin start to be heard as distinct voices, even if the music looks the same on the page. As if your left and right brain functions (if those actually exist separately) have switched over to the other side. At approximately 26 minutes, extremely high notes, and a switch to triplet groups occur; small chromatic movements add to the eerieness. At approximately 48 minutes into the piece, clusters begin appearing in the piano part, and snaky microtonal inflections occur in the violin part; this is followed by chromatic scales in the piano part smeared with the sustaining pedal, and they are imitated almost in pitch unison by the violin playing in microtones, artificial harmonics and sul ponticello. This is truly a bizarre sound. All certainty assured by the traditional relation to pitch is gradually obscured. Gesture and shape become the prime vocabulary. The distorting mirror gradually becomes clear again. The piano provides an ascending ladder of tuning points adding up to more complex harmony than that of the beginning. There is a return to more energetic patterns. And then to the ascending chromatics (3 to 5 note patterns). The piece concludes with a slow 5-note ascending cluster. We are left with a great mystery simply expressed. "It's a little piece for violin and piano, but it doesn't quit" (Feldman in conversation with composer Peter Gena). [allmusic.com]
Art by John Cage
wn.com/Morton Feldman For John Cage
For John Cage, for violin & piano (1982)
Stephen Clarke, piano
Marc Sabat, violin
Morton Feldman's "For John Cage" scored for violin and piano, approximately 70 minutes long, was composed in 1982. This was during the last period of Feldman's creative activity when made several works of extended listening durations, like the "Triadic Memories" (1981), "Patterns in a Chromatic Field" (also known as "Untitled Composition for Cello and Piano" (1981), "Crippled Symmetry" (1983), the 80-minute "String Quartet" (1979), the 43-minute ensemble piece "For Samuel Beckett" (1987), and the more than 4 and 1/2 hours of "For Philip Guston". In his ensemble works, Feldman assigned certain identifiable gestures to certain individual instruments and instrumental groups, and these gestures would be repeated on long, asymmetrical time schedules. The rhythms would be gradually offset, the pitches would move through harmonic fields that would be outlined by changes in the single pitches, note duration and consequently coordination between parts would either be conventionally notated or be indeterminate and left to the choice of the performers. The resulting ensemble image would be like floating layers of sound passing each other and combining in various ways. In a work with only two instruments, such as this, the gradual modification of rhythm and other elements, is highlighted. In Feldman's earlier works, notes would be relatively isolated, and every once in a while a motoric "loop" would be created from a sequence of notes, and would be repeated more or less without change for a brief period. In this work, these looping patterns pre-dominate. The violin and piano sometimes imitate each other, exchange parts, but most often share a pattern divided between themselves. The patterns, although simple, are unpredictable both in their shape, their subtle modification in timbre, tempo, articulation (attack, non-attack) and their number of repetitions, or singular statement. There is no sense of traditional linear development, and there is, really, no exact repetition. Certain remarkable illusionary passages occur, for example, when the two instruments exchange parts: after a long time of single note repeats in the piano and two-note gestures in the violin, at approximately 20 minutes into the piece, the violin begins pulsing (at different tempi) and the piano plays two-note figure in the high and low registers. The effect on the listener is difficult to explain in previous musical terms, but the piano and violin start to be heard as distinct voices, even if the music looks the same on the page. As if your left and right brain functions (if those actually exist separately) have switched over to the other side. At approximately 26 minutes, extremely high notes, and a switch to triplet groups occur; small chromatic movements add to the eerieness. At approximately 48 minutes into the piece, clusters begin appearing in the piano part, and snaky microtonal inflections occur in the violin part; this is followed by chromatic scales in the piano part smeared with the sustaining pedal, and they are imitated almost in pitch unison by the violin playing in microtones, artificial harmonics and sul ponticello. This is truly a bizarre sound. All certainty assured by the traditional relation to pitch is gradually obscured. Gesture and shape become the prime vocabulary. The distorting mirror gradually becomes clear again. The piano provides an ascending ladder of tuning points adding up to more complex harmony than that of the beginning. There is a return to more energetic patterns. And then to the ascending chromatics (3 to 5 note patterns). The piece concludes with a slow 5-note ascending cluster. We are left with a great mystery simply expressed. "It's a little piece for violin and piano, but it doesn't quit" (Feldman in conversation with composer Peter Gena). [allmusic.com]
Art by John Cage
- published: 15 Nov 2015
- views: 8317
Morton Feldman ~ Five Pianos
- Order: Reorder
- Duration: 30:56
- Updated: 02 Oct 2013
- views: 44663
Morton Feldman - Piano, Violin, Viola, Cello (1987)
- Order: Reorder
- Duration: 75:24
- Updated: 01 Sep 2016
- views: 211
Morton Feldman | Piano, Violin, Viola, Cello | Bridge Records | 2015
- published: 01 Sep 2016
- views: 211
Morton Feldman - Violin & String Quartet
- Order: Reorder
- Duration: 133:55
- Updated: 01 Mar 2014
- views: 35611
Violin and String Quartet, for violin & string quartet (1985)
Peter Rundel, violin
Pellegrini-Quartett
Morton Feldman's large scale work simply entitled Violi...
Violin and String Quartet, for violin & string quartet (1985)
Peter Rundel, violin
Pellegrini-Quartett
Morton Feldman's large scale work simply entitled Violin and String Quartet commences with the violin soloist contemplating the minor seventh interval A to G over and over again, in no predictable rhythmic configuration, while confronted by soft, dissonant chord clouds from the other musicians. The clouds quietly disintegrate as the entrances become more staggered. Ten minutes or so into the piece, Feldman refines the opening gestures, expanding the interval leaps, and voicing chord clusters in numerous configurations. At the 22-minute mark, Feldman arrives back where he started, but in a parallel universe, so to speak, with the aforementioned minor seventh transformed into a major ninth (G to A), the chord clouds fuller of body, and increased rhythmic momentum. Before you've noticed, the harmonic motion has grown more protracted when the time comes to switch discs. Continue listening, and you'll arrive at a soothing, yet somewhat darker lower-register variation on the opening material at the 13-minute mark (remember, we're on disc two). There's a poignant stretch of music between 26 and 31 minutes where the slowly reiterated chords take on a lush harmonic character, giving way to a section made up of staggered major ninths moving in opposite directions. Faster moving sustained chords ensue, but now coloured by discreetly placed pizzicatos, the first plucked notes we've heard in this piece. Soon all the instruments stack up the aforementioned minor ninth, sometimes in canon, sometimes together, all to intense, claustrophobic effect. An oasis in the form of a steady procession of short-breathed sustained chords lies ahead. On paper this music looks simple to play, even sight-read, yet to control the composer's pinpointed dynamics, rhythms, and articulations is easier said than done, let alone holding a listener's attention for nearly two hours. --Jed Distler
Two hours of sighs, whispers, murmurs, and tremolos from a string quartet etherealized further by a solo violin floating above. That's what you get with this epic anti-epic from 1985 by Morton Feldman. Feldman's admirers regard him as the most significant composer of our time. It's a hard case to make for something so minimal; this piece in particular seems less like music than music's ghost -- a pure essence that denies anything remotely substantial or corporeal. 'Let's get out of here before it starts to develop,' Debussy once said to a friend following the exposition in the opening of a Beethoven symphony; Feldman's music is the ultimate manifestation of that stance. Unlike Webern, who sometimes did develop his tiny cells, if only for a moment, Feldman creates the smallest musical materials imaginable, only to have them slowly vanish. Still, Feldman is a distinct, instantly recognizable voice (or anti-voice) -- something that cannot be said for many recent composers. Feldman may not be the greatest composer of our time, as his cultish advocates assert, but he may well be the greatest for insomniacs. This mysterious, wispy stuff is very close to a pure dream state, perhaps the best 3 AM music ever. --Jack Sullivan
Art by Sol LeWitt
wn.com/Morton Feldman Violin String Quartet
Violin and String Quartet, for violin & string quartet (1985)
Peter Rundel, violin
Pellegrini-Quartett
Morton Feldman's large scale work simply entitled Violin and String Quartet commences with the violin soloist contemplating the minor seventh interval A to G over and over again, in no predictable rhythmic configuration, while confronted by soft, dissonant chord clouds from the other musicians. The clouds quietly disintegrate as the entrances become more staggered. Ten minutes or so into the piece, Feldman refines the opening gestures, expanding the interval leaps, and voicing chord clusters in numerous configurations. At the 22-minute mark, Feldman arrives back where he started, but in a parallel universe, so to speak, with the aforementioned minor seventh transformed into a major ninth (G to A), the chord clouds fuller of body, and increased rhythmic momentum. Before you've noticed, the harmonic motion has grown more protracted when the time comes to switch discs. Continue listening, and you'll arrive at a soothing, yet somewhat darker lower-register variation on the opening material at the 13-minute mark (remember, we're on disc two). There's a poignant stretch of music between 26 and 31 minutes where the slowly reiterated chords take on a lush harmonic character, giving way to a section made up of staggered major ninths moving in opposite directions. Faster moving sustained chords ensue, but now coloured by discreetly placed pizzicatos, the first plucked notes we've heard in this piece. Soon all the instruments stack up the aforementioned minor ninth, sometimes in canon, sometimes together, all to intense, claustrophobic effect. An oasis in the form of a steady procession of short-breathed sustained chords lies ahead. On paper this music looks simple to play, even sight-read, yet to control the composer's pinpointed dynamics, rhythms, and articulations is easier said than done, let alone holding a listener's attention for nearly two hours. --Jed Distler
Two hours of sighs, whispers, murmurs, and tremolos from a string quartet etherealized further by a solo violin floating above. That's what you get with this epic anti-epic from 1985 by Morton Feldman. Feldman's admirers regard him as the most significant composer of our time. It's a hard case to make for something so minimal; this piece in particular seems less like music than music's ghost -- a pure essence that denies anything remotely substantial or corporeal. 'Let's get out of here before it starts to develop,' Debussy once said to a friend following the exposition in the opening of a Beethoven symphony; Feldman's music is the ultimate manifestation of that stance. Unlike Webern, who sometimes did develop his tiny cells, if only for a moment, Feldman creates the smallest musical materials imaginable, only to have them slowly vanish. Still, Feldman is a distinct, instantly recognizable voice (or anti-voice) -- something that cannot be said for many recent composers. Feldman may not be the greatest composer of our time, as his cultish advocates assert, but he may well be the greatest for insomniacs. This mysterious, wispy stuff is very close to a pure dream state, perhaps the best 3 AM music ever. --Jack Sullivan
Art by Sol LeWitt
- published: 01 Mar 2014
- views: 35611
Morton Feldman - For Bunita Marcus - Stephane Ginsburgh
- Order: Reorder
- Duration: 71:21
- Updated: 22 Jan 2014
- views: 20356
Morton Feldman - For Bunita Marcus (1985)
Stephane Ginsburgh, piano
Sub Rosa (2007)
Artwork: Mark Rothko
Morton Feldman - For Bunita Marcus (1985)
Stephane Ginsburgh, piano
Sub Rosa (2007)
Artwork: Mark Rothko
wn.com/Morton Feldman For Bunita Marcus Stephane Ginsburgh
Morton Feldman - For Bunita Marcus (1985)
Stephane Ginsburgh, piano
Sub Rosa (2007)
Artwork: Mark Rothko
- published: 22 Jan 2014
- views: 20356
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288:33
Morton Feldman For Philip Guston
Morton Feldman - For Philip Guston, 1984.
S.E.M. Ensemble (Petr Kotik, flute(s). Joseph K...
published: 17 May 2013
Morton Feldman For Philip Guston
Morton Feldman For Philip Guston
- Report rights infringement
- published: 17 May 2013
- views: 71785
25:46
Morton Feldman ~ Rothko Chapel
Rothko Chapel
Morton Feldman
*Gregg Smith conducting*
published: 03 Oct 2013
Morton Feldman ~ Rothko Chapel
Morton Feldman ~ Rothko Chapel
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- published: 03 Oct 2013
- views: 90918
112:25
Morton Feldman - Triadic Memories (Louis Goldstein)
Morton Feldman | Triadic Memories | Louis Goldstein: Piano | Offseason Productions | 2000
published: 24 Mar 2013
Morton Feldman - Triadic Memories (Louis Goldstein)
Morton Feldman - Triadic Memories (Louis Goldstein)
- Report rights infringement
- published: 24 Mar 2013
- views: 43055
83:56
Morton Feldman - Piano and String Quartet (1985)
Midsummer Chamber Music Festival
Harpa Concert Hall, Reykjavik (Iceland)
June 20, 2013
...
published: 18 Jul 2016
Morton Feldman - Piano and String Quartet (1985)
Morton Feldman - Piano and String Quartet (1985)
- Report rights infringement
- published: 18 Jul 2016
- views: 4
32:12
Mode 112: Morton Feldman - String Quartet No. 2
[excerpt]
FLUX Quartet
In the 1970s Feldman took up the study and collecting of antiqu...
published: 06 Jun 2011
Mode 112: Morton Feldman - String Quartet No. 2
Mode 112: Morton Feldman - String Quartet No. 2
- Report rights infringement
- published: 06 Jun 2011
- views: 16733
81:57
Morton Feldman - For John Cage
For John Cage, for violin & piano (1982)
Stephen Clarke, piano
Marc Sabat, violin
Morton...
published: 15 Nov 2015
Morton Feldman - For John Cage
Morton Feldman - For John Cage
- Report rights infringement
- published: 15 Nov 2015
- views: 8317
30:56
Morton Feldman ~ Five Pianos
Five Pianos
Morton Feldman
(1972)
*Le Bureau des Pianistes*
published: 02 Oct 2013
Morton Feldman ~ Five Pianos
Morton Feldman ~ Five Pianos
- Report rights infringement
- published: 02 Oct 2013
- views: 44663
75:24
Morton Feldman - Piano, Violin, Viola, Cello (1987)
Morton Feldman | Piano, Violin, Viola, Cello | Bridge Records | 2015
published: 01 Sep 2016
Morton Feldman - Piano, Violin, Viola, Cello (1987)
Morton Feldman - Piano, Violin, Viola, Cello (1987)
- Report rights infringement
- published: 01 Sep 2016
- views: 211
133:55
Morton Feldman - Violin & String Quartet
Violin and String Quartet, for violin & string quartet (1985)
Peter Rundel, violin
Pelleg...
published: 01 Mar 2014
Morton Feldman - Violin & String Quartet
Morton Feldman - Violin & String Quartet
- Report rights infringement
- published: 01 Mar 2014
- views: 35611
71:21
Morton Feldman - For Bunita Marcus - Stephane Ginsburgh
Morton Feldman - For Bunita Marcus (1985)
Stephane Ginsburgh, piano
Sub Rosa (2007)
Artwor...
published: 22 Jan 2014
Morton Feldman - For Bunita Marcus - Stephane Ginsburgh
Morton Feldman - For Bunita Marcus - Stephane Ginsburgh
- Report rights infringement
- published: 22 Jan 2014
- views: 20356
Morton Feldman For Philip Guston...
Morton Feldman ~ Rothko Chapel...
Morton Feldman - Triadic Memories (Louis Goldstein...
Morton Feldman - Piano and String Quartet (1985)...
Mode 112: Morton Feldman - String Quartet No. 2...
Morton Feldman - For John Cage...
Morton Feldman ~ Five Pianos...
Morton Feldman - Piano, Violin, Viola, Cello (198...
Morton Feldman - Violin & String Quartet...
Morton Feldman - For Bunita Marcus - Stephane Gins...
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Philippine President Duterte Threatens To 'Break Up' With U.S.
Edit WorldNews.com 06 Oct 2016
Philippines President Rodrigo Duterte continued his raft of controversial statements Tuesday saying he would “eventually” cut ties with the United States, China Today reported.Once again Duterte hit out at the United States and President Barack Obama, the European Union and the United Nations for using human rights to criticize his campaign to curb the illicit drug menace in the Philippines, the report said....
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North Korea official who performed medicine to Kim Jong-un defects
Edit WorldNews.com 06 Oct 2016
A report from South Korea's Yonhap news agency stated that a ranking North Korean embassy official in Beijing has defected and could be seeking asylum in the Japanese mission in the Chinese city, according to The Washington Post. Yonhap quoted an anonymous source that was "familiar with Pyongyang affairs," explained the official stationed in the Beijing embassy and North Korean health ministry had disappeared mid-September....
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[VIDEO] Gold Rings Found In 3,500-Year-Old Tomb Tell Of Ancient Greek Civilization's Violent Origins
Edit WorldNews.com 05 Oct 2016
Four mysterious golden rings found in a Bronze Age tomb appear to offer insights into the origins of Ancient Greek civilization, IFL Science reports ... Stretched out on his back, he was adorned with golden daggers with ivory hilts, gilded cups, and thousands of beads of precious gems ... Just recently, an archaeologist claimed to have found the throne of the legendary Mycenaean ruler Agamemnon, but this remains debatable ... WN.com, Jim Berrie....
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[VIDEO]: Assange Fails To Produce "Damning" Clinton Data Dump
Edit WorldNews.com 05 Oct 2016
The “October surprise” WikiLeaks promised to deliver failed to materialize yesterday because of ongoing security concerns at the Ecuadorian embassy where founder Julian Assange is holed up, a published report Wednesday said. A confidante of Republican presidential candidate Donald Trump told the Boston Herald Radio’s “Herald Drive” show yesterday the damning data dump against Hillary is still on the way ... ....
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Two Million Urged To Evacuate Across US From Hurricane Matthew After Caribbean Destruction
Edit WorldNews.com 06 Oct 2016
Hurricane Matthew spent the early portion of this week causing destruction and flooding across Haiti, Cuba, and The Bahamas with 16 dead but now many southeastern states in the United States are being urged to evacuate due to the impending storm as of Wednesday, according to The Associated Press ... -WN.com, Maureen Foody....
Blue Jays making few changes to ALDS roster (MLB - Major League Baseball)
Edit Public Technologies 06 Oct 2016
(Source. MLB - Major League Baseball). 'We have to make two adjustments,' Blue Jays manager John Gibbons said Wednesday afternoon ... Two on, two off. No additional moves.' Game Date Time Matchup TV. Gm 1 Oct ... Other possibilities include lefty reliever Aaron Loup or long reliever Scott Feldman ... The bullpen will consist of Roberto Osuna, Jason Grilli, Brett Cecil, Joe Biagini, Francisco Liriano and then likely two of Loup, Feldman and Tepera....
Blue Jays making few changes to ALDS roster
Edit MLB 06 Oct 2016
ARLINGTON -- The Blue Jays are going to make a couple of minor changes to their 25-man roster before the American League Division Series rematch against the Rangers gets underway Thursday afternoon ... Other possibilities include lefty reliever Aaron Loup or long reliever Scott Feldman ... The bullpen will consist of Roberto Osuna, Jason Grilli, Brett Cecil, Joe Biagini, Francisco Liriano and then likely two of Loup, Feldman and Tepera ... ... ....
North Dakota officials block county road because of protest
Edit The Washington Times 06 Oct 2016
MANDAN, N.D. (AP) - North Dakota authorities say work at several Dakota Access pipeline construction sites was temporarily stopped Wednesday because of protesters. The Morton County Sheriff's Office says authorities blocked County Road 136 near St. Anthony and advised protesters they couldn't drive through. Officials say area residents were alerted ... ....
Zoppé Italian Circus sets up its tent in Redwood City
Edit The Mercury News 06 Oct 2016
Giovanni Zoppé is a clown who takes the circus very seriously. The manager and head clown of Zoppé — An Italian Family Circus says, “It’s important to keep this type of entertainment alive. I’m trying to re-education the American public as to what circus is really all about ... But it’s being human. It’s about life and reality ... Zoppé plays Red Morton Park, today through Oct. 23 ... Circus Tent, 1455 Madison Ave., Red Morton Park, Redwood City ... 23....
Interpublic Schedules Third Quarter 2016 Earnings (Interpublic Group of Companies Inc)
Edit Public Technologies 06 Oct 2016
(Source. Interpublic Group of Companies Inc). New York, NY - October 5, 2016 - Interpublic Group (NYSE ... Following the release, the company will hold a conference call for investors at 8.30 a.m ... # # # ... Major global brands include BPN, CRAFT, FCB (Foote, Cone & Belding), FutureBrand, Golin, Huge, Initiative, Jack Morton Worldwide, MAGNA, McCann, Momentum, MRM//McCann, MullenLowe Group, Octagon, R/GA, UM and Weber Shandwick ... # # # ... (Press)....
‘Violently Unpredictable’ Hurricane Matthew Now With Death Toll Of At Least 26, Storm Rages On
Edit Inquisitr 06 Oct 2016
Although hurricane Matthew was downgraded to a Category 4 storm early this morning, that by no means should give anyone solace. As the storm with winds now sustained at 120 miles per hour heads toward the warm and open waters near Florida, it could strengthen and become a Category 5 Hurricane easily, according to the National Hurricane Center ... the threat of standing water ... [Image by Stephen Morton/Getty Images] ... The Inquisitr News ....
The Loop’s NFL Picks: Week 5
Edit Pioneer Press 06 Oct 2016
Every Thursday, Kevin Cusick makes his predictions against the latest Las Vegas point spread, the way God intended …. Texans at Vikings (-6).. Vikings kicker Blair Walsh, feeling the heat after his latest misses, admits “being in the NFL, you’ve got to make your kicks.” Minnesota coaches are sticking with Walsh again this week, mostly because they seem to have misplaced Robbie Gould’s cell phone number. Pick ... Huh) ... Pick ... Morton) ... ....
People in Business
Edit Houston Chronicle 05 Oct 2016
Realtor Kerri Washburn, a resident of the Meyerland/Bellaire area of Houston, has joined the sales team of Weichert, Realtors - Wayne Murray Properties to represent home buyers and sellers throughout southwest Houston ... Shannon Morton has joined Northern Trust announced as a senior vice president and senior portfolio manager for its Foundation and Institutional Advisor group ... ....
?Chicago P.D.'s Marina Squerciati: An Attack on Burgess' "Best Frenemy" Throws Her for a Loop
Edit Seattle PI 05 Oct 2016Brooklyn liqueur startup raises glass to equity crowdfunding
Edit Upstart 05 Oct 2016
NEW YORK — Barrow's Intense, a small Brooklyn-based distillery, wants to follow in the footsteps of St-Germain, Baileys and Fireball and become one of the most recognized craft spirit brands in the world ... Josh Morton is the latest guest on WANTonomics, a Business Journal podcast focused on the on-demand economy. Check out past episodes here or click on the headlines… ... ....
Chicago P.D.'s Marina Squerciati: An Attack on Burgess' "Best Frenemy" Throws Her for a Loop
Edit The Providence Journal 05 Oct 2016
The police department is thrown into chaos when one of its own is targeted on this week's Chicago P.D.After Sgt. Platt (Amy Morton) is attacked and severely injured while walking to her car, it shakes up everyone in the department -- but particularly [...]> ... ....
Chicago P.D.'s Marina Squerciati: An Attack on Burgess' "Best Frenemy" Throws Her for a Loop
Edit The Providence Journal 05 Oct 2016
The police department is thrown into chaos when one of its own is targeted on this week's Chicago P.D.After Sgt. Platt (Amy Morton) is attacked and severely injured while walking to her car, it shakes up everyone in the department -- but particularly [...]> ... ....
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