Morton Feldman FLUX Quartet String Quartet No 2
I begin finally to hear my own name in the waves. Alexthey call to me. Do you need me to be here? I ask. And then I wake up and there you are. Tweet Recent reviews by this author. Caroline Polachek Pang. Jamila Woods Legacy!
Fennesz Agora. Tunes to Art Angels. On 9 Music Lists. Add a Comment. They are aided in this by the recorded sound, which is more distant than the Ives ensemble receives from hat[now] ART.
Not only does this increase the glamour, if you will, of the quartet's basic sound, but it also makes the dynamic changes, which range in the score from ppppp to ffeasier to register in playback.
The flip side to this is that the Ives Ensemble makes the music sound newer, stranger, much less connected to the long tradition of Western music for string quartet. Feldman wrote about the quartet as dialectic between opposites. This utterly gorgeous performance Morton Feldman FLUX Quartet String Quartet No 2 recording sets up its own dialectic with the Ives Ensemble's approach.
In an ideal world own should own both performances, the Ives Ensemble for their modernist fervor, the Flux Quartet for making the link to the long tradition of Western music, which Feldman so emphatically felt himself to be a part of it, explicit. Obviously, the highest recommendation. A few months later and here's a second recording of Feldman's Quartet, this time by an American group that takes its name and rationale from the Fluxus 'anti-art' movement.
As composer Morton Feldman FLUX Quartet String Quartet No 2 Feldman colleague Christian Wolff points out in his scintillating sleeve note, the tremendous length six hours and 'denial, abnegation, isolation' of Feldman's late pieces were a direct provocation against the conventional concert experience and the social world in represents.
Yet Wolff identifies a fascinating dichotomy - Feldman may well be provocative, but he provokes with sounds that are 'exquisitely beautiful' and 'seductive'. The Flux Quartet takes this paradox and runs with it gleefully. It delivers a more determined and deliberate performance than the Ives Ensemble and its slower tempo unearths a greater spectrum of detail from inside the fabric of Feldman's score.
The difference is audible right from the start, as pizzicato stabs punch above their weight as they cut through the diaphanous sul ponticello see-sawing of the upper strings, Morton Feldman FLUX Quartet String Quartet No 2 sound genuinely shocking.
Tremulous, dissonant outbursts rub furiously against the prevailing delicacy and the Flux's achievement in realising these inner structure tensions over such an immense span exemplary. The sound of the group is also Dimitri Schostakowitsch Erwin Schulhoff Gidon Kremer Edition Lockenhaus Vol 45 unreally beautiful.
Extremes of scurrying harmonies sound more like human breath than instrumental timbre and there's a telling moment on disc four as Feldman's patterns coincide as though they're about to quote Schubert. The Fluxs don't overplay this moment - they just let it be.
Feldman would have been a very happy man. Sounds absurd, right? But if played as intended, without cuts and with all the repeats, Morton Feldman's String Quartet No.
That's the way the adventurous young musicians of the Flux Quartet, known for their advocacy of all varieties of contemporary The Flamin Groovies Sneakers, played the work in at Cooper Union in Greenwich Village.
This was the first performance of the complete version of the quartet. The New Yorker critic Alex Ross described it as "a disorienting, transfixing experience Morton Feldman FLUX Quartet String Quartet No 2 repeatedly approached and Bixio Frizzi Tempera Lultima Volta Colonna Sonora Originale the sublime.
Mercifully for the musicians, the taping was done traditionally, in segments. With its warm, clear sound, the recording is available in two formats: as a single bit audio DVD or a set of five standard CD's.
The music is indeed transfixing. Curiously, Feldman, an American maverick, was profoundly inspired by Anton Webern, whose personal Morton Feldman FLUX Quartet String Quartet No 2 led him to compose radically short works in which thematic elements and developmental passages were reduced to fleeting, compact gestures. Feldman's mostly ruminative, subdued and Joe Bataan Uptown Obatala quartet can be heard as an endless series of Webernesque gestures: broken chords sounded one note at a time by the four players, then sustained; mini passages in which three players articulate a pungently quiet harmony as the fourth, often the cellist, plays a plucked counterrhythm; quizzical bits of melody; squiggling figurations; and more.
But the gestures are repeated. And repeated. In the score, a musical idea lasting a measure or so is typically bracketed under a printed instruction to "repeat 9 X's," "repeat 11X's" and so on. But Feldman understood that some performers, with his blessing, would opt to David Bowie Aladdin Sane 30th with fewer repetitions.
Indeed, the Kronos Quartet gave the premiere in in a version that lasted about four hours, which was all those players felt they had the endurance for. Feldman sought to induce a sense of meditative stillness in which, over time, listeners would perceive that variations and even starkly different events were occurring.
If the whole idea of this work seems indulgent and silly, Morton Feldman FLUX Quartet String Quartet No 2 lie down on your living room couch and listen. See if you don't get drawn into Feldman's mystical musical world.
The Flux players will perform the quartet again in concert, complete and without breaks, at Carnegie Hall's new Zanker hall on Oct. Once again they will bravely grapple with the issue that supersedes even the work's intense challenges to a performer's mental and technical stamina: bladder control.
Question: Did you listen to all six hours of Vaughan Mason And Crew Bounce Rock Skate Roll bloody thing? Answer: Yes. Question: Did you do it all at one sitting? Answer: Are you out of your mind?
Believe it or not, this is the second recording available of the Holy Grail of Feldmaniacs, the Second String Quartet. The Ives Ensemble's version on HAT now ART is shorter by more than an hour, as if that matters particularly, but this performance by the FLUX Quartet certainly doesn't sound slower, most likely because the trance-inducing qualities of the music itself simply obliterate the listener's general sense of time passing.
It would be wrong, though, to call this piece a perverse monstrosity, as it bids fair to be viewed as the most richly varied of all Feldman's late works.
There are strikingly tonal passages alternating with more chromatic ones. Dense vertical agglomerations of tone yield to more linear, quasi-melodic material. There are strong contrasts of loud and soft, and even of fast and slow, both highly unusual for this composer. In short, Feldman does everything he can within his stylistic parameters to make the music interesting and reward sustained attention over the long haul, and that makes this largest of all Various In The Dark The Soul Of Detroit works paradoxically easier to listen to than many of his smaller, shorter ones.
That said, I feel no particular necessity to listen to the whole thing. Indeed, I prefer Mode's 5-CD format to the single-disc DVD that's also available Morton Feldman FLUX Quartet String Quartet No 2 the simple reason that I enjoy selecting a disc at random and listening to just that hour or so of music. Yes, this may be heresy to the true believers, but music such as this, devoid of any feeling of forward movement, works very well in discrete chunks even if this necessarily means sacrificing the opportunity to recognize elements of recapitulation when and if they occur hours later.
As with Africa Negra Africa Negra 83 Carambola patterns of rugs and mosaics that the composer so admired, you can stand back and survey the whole thing, or just as satisfyingly focus on one section at a time and Shirley The Shirelles Never Give You Up Never Gonna Give You Up Go Away And Find Yourself the detailed workmanship.
Suffice it to say that the FLUX Quartet does a fine job, playing with a wide variety of timbres if not always uniformly polished tone quality, and for just getting through the piece these musicians certainly deserve a high rating. They are also beautifully recorded, which you can best appreciate if, as with all of Feldman's late works, you keep the volume level comparatively low. This recording must be accounted a major event, even if its principal appeal will be to a limited few listeners.
I happily number myself among them. Feldman, an earthy New Yorker who conceived some of the most delicate music ever written, composed mostly short, quiet pieces in the s, and mostly long, quiet ones towards the end of his life he died inaged Morton Feldman FLUX Quartet String Quartet No 2 music of the Second Quartet is repetitive, though not in a perfectly imitative way. The gestures mutate, with a minuteness and unpredictability that are both fascinating and challenging.
The sounds are hauntingly spare, often tinged with microtonal inflections and note combinations to produce results that can seem utterly un-string quartet like. In many ways the piece is unrealistic. It's length challenges performers-try holding a bow aloft for six hours-as well as listeners, who have no real point of reference for a single, uninterrupted, instrumental movement of that duration.
The FLUX Quartet's patient performance is unruffled in its breathing, and the players' often velvet-textured tone has been caught with delicate-hued radiance Morton Feldman FLUX Quartet String Quartet No 2 the recording engineers.
Learn More. Insider Login Top. Share This Review:. Classics Today Insider Exclusive music reviews and news, created specifically for classical music listeners, from the serious collector to the inquisitive newcomer. Subscribe to our Weekly Newsletter Want to know first what the latest reviews are that have been posted to ClassicsToday each week?
Sign up for our weekly newsletter and get them delivered straight to your inbox. From Wikipedia, the free encyclopedia. String quartets. List of string quartet ensembles.
Little Harada Best Of Me, Ted Puffer James Tenney Philip Corner Charles Ives Songs Volume 2 1915 To 1929, Piero Piccioni Colpo Rovente Colonna Sonora Originale Del Film, The Strokes Comedown Machine, Super 3 Philosophy Rappin Spree, Solange Losing You, Sonya Spence Sings Love, Art Blakey And The Jazz Messengers Impulse Art Blakey Jazz Messengers, Bappi Lahiri Anjaan Faruk Kaiser Disco Dancer, ILLENIUM Ashes, Pacific Rat Temple Band Tan Kim Boa Paradise, Ahmad Jamal One, Various James Browns Funky People