Morton Feldman: Piano, Violin, Viola, Cello CD review.
Scored for two small ensembles, each composed of chimes, piano, violin and cello, the twelve and a half minutes are sublime; Feldman extends the sort of patterning already found in the earlier 'Four Pianos' (1957) into a more complex spatial structure. Like the essay of the same name, this is an important transitional work for the composer and it seems remarkable that it has had to wait until.
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Here, collected for the first time, are all of Morton Feldman's compositions for violin and piano. It is also a kind of walk through his compositional development, from the Webernesque early Piece for Violin and Piano (1950); through the experiments with graphic notation in Projection 4 (1951); followed by an excursion into the jungle-like density of David Tudor's energy in Extensions 1 (1951.
Late in his career Morton Feldman became fascinated with the extremes of duration. This 1987 work, Piano, Violin, Viola, Cello comes from that period and clocks in at 75;13. It's not his longest work, the 6-hour 2nd String Quartet holds that honor. But its length does make some demands -- and has some effect -- on the listener (at least this one). The work is in a single movement, and Bridge.
The piano is an inherently indeterminate instrument - any given note will have a very different afterlife dependent upon the touch of the performer, the register of the note, the type and size of the piano, the acoustic of the space in which the piano is situated, and so forth. Put six or seven of these notes together as a chord and the situation becomes complex. In all these pieces Feldman.
MORTON FELDMAN - Piano, Violin, Viola, Cello (Another Timbre 113; UK) Morton Feldman's final composition, originally premiered in 1987, here performed by pianist Mark Knoop, violinist Aisha Orazbayeva, violist Bridget Carey, and cellist Anton Lukoszevieze, recording a year after their successful performance at London's Cafe Oto, maintaining focus and concentration on this large, unhurried work.
The Milton Resnick and Pat Passlof Foundation is pleased to host the New York New Music Ensemble’s 2019-2020 season. The second concert of the season features music by Georg Friedrich Haas, David Froom, Hannah Lash, and Max Grafe. Program: Hannah Lash, C (2011) David Froom, Hidden Motives (2018) Max Grafe, An Effulgence Fills the Southern Boughs (2017) George Friedrich Haas, Trio Ex Uno.