ABUSE FORM
Morton Feldman - Piano and String Quartet
Posted By :
CioCio
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Date :
07 Sep 2010 13:23:22
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Comments :
10
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Morton Feldman - Piano and String Quartet
Avant-Garde | EAC (APE+CUE+LOG) | 250 MB (WinRAR - 3% Rec.) | 2001 | Complete Scans
Ives Ensemble
Avant-Garde | EAC (APE+CUE+LOG) | 250 MB (WinRAR - 3% Rec.) | 2001 | Complete Scans
Ives Ensemble
| “ | "I believe in Western civilization", [Feldman] proclaimed in his four-hour-twenty-minute 1985 Middelburg lecture. "I am western civilization. [...] I don't like ethnomusicology. I am as intolerant towards ethnical music as Berlioz. [...] I only accept western music. The other stuff, Gagaku, Balinese music, that's pretty, but it has no intellectual quality for me. It's a nice ritual, like chicken soup every Friday night. It's comfortable. But Western music, Bach, magnificent!" As reactionary as that may sound, Feldman's compositional procedures in reasserting his love of Western art music, of string quartet and piano quintet music in particular, are all but retrospective or nostalgic. Yes, indeed, Feldman does respect the timbres traditionally associated with pianos, violins, viola and violoncello - no extended playing techniques for him, no inside piano actions, not even a col legno battuto, nothing adventurous beyond string harmonics or the use of the sordino throughout. But how non-Western this music is in most every other respect! Not a trace of musical rhetoric in the traditional sense, of musical drama. And if the history of string quartet writing is the history of intimate conversation, of interaction, of independent voice-leading and democratic freedom of musical speech, Feldman negates all that by treating the strings of as a monolithic sound block [...] No less radical is Feldman's re-invention of the piano, his astonishing rejection of the qualities usually associated with the instrument. The notation already gives an indication of Feldman's idiosyncrasies: The piano part is written on one stave only, in treble clef. No independence of the two hands here, no counterpoint to speak of, but only an endless permutation of an exquisite six-note-chord stretched out (in its initial figure) over two octaves and a fourth. [...] Feldman himself has summed up Piano and String Quartet as "the history of the speed of a broken chord." - Peter Niklas Wilson, liner notes | ” |
Tracklist
1) <untitled> 22:54
2) <untitled> 24:09
3) <untitled> 26:50
Served thru RS
Part 1
Part 2
Part 3
hat[now]ART 128
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