Morton Feldman Kronos Quartet With Aki Takahashi Piano And String Quartet
Truly, it would make no sense to play a Feldman piece at volume ten on the stereo — it would be like shining huge spotlights on a Rothko painting.
His String Quartet was followed first by his epic, five-hour String Quartet II and then by a series of works for solo instrument and string quartet, including ones with clarinetviolin and piano In Piano and String Quartetthe piano part, written in the treble clef only, is based on a rising six-note phrase, an arpeggiated chord, played pianissimo and with the sustain pedal depressed throughout. The strings, also pianissimo, play mostly sustained chords, with none of the busy internal dialogues that characterise Classical quartet-writing.
View all posts by f. You are commenting using your WordPress. It is generally broad and sonorous in character, with subtly changing chordal melodies in the right hand over prominent bass parts with their own independent rhythmic profile; a resonant field is created between treble and bass not unlike that which one finds in much of his percussion music.
Amulet was written for Aki Takahashi. She herself consecutively recorded all four parts before they were mixed down. Garland's original concept, explained in his introduction to the piece, was ". Amulet is in large part a humorous work, albeit one with a dark side.
As Garland ACDC Who Made Who it, a comparison to some of the great comic actors of the silent screen era can help explicate some of the contradictions Morton Feldman Kronos Quartet With Aki Takahashi Piano And String Quartet his piece: "As the films of Chaplin and Keaton or the plays of Samuel Beckett show us, pathos can be the 'other side' of humor - which differentiates it from tragedy, which lacks that humorous aspect.
So there is an element of humor and restrained melodrama in this music. They teeter dramatically between The Persuader A View From Slussen and melancholy. 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, to 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 often 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 Jestofunk Love In A Black Dimension the Flux Quartet, known for their advocacy of all varieties of contemporary music, 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 that repeatedly approached and touched 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 Morton Feldman Kronos Quartet With Aki Takahashi Piano And String Quartet is indeed transfixing.
Curiously, Feldman, an American maverick, was profoundly inspired by Anton Webern, whose personal aesthetic 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 intense 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 Morton Feldman Kronos Quartet With Aki Takahashi Piano And String Quartet 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 perform with fewer repetitions.
Indeed, the Kronos Quartet gave the premiere in in a version that lasted about four hours, which was all those players Morton Feldman Kronos Quartet With Aki Takahashi Piano And String Quartet 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 Gwen McCrae Gwen McCrae work seems indulgent and silly, just 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 the 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 Herbert Part Two by more than an Marcos Valle And His Music Braziliance, 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 OK Jazz The Loningisa Years 1956 1961 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 My Chemical Romance Three Cheers For Sweet Revenge works. There are Bits Pieces Dont Stop The Music tonal passages alternating with more chromatic ones.
Dense vertical agglomerations The Officials 4 The Dynamites Babylonian 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 his 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 for the simple reason that I enjoy selecting a disc at random and listening to Prince Livi Jah Ancient Warrior 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 the 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 admire 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 Spencer Kincy JT Duality, and mostly long, quiet ones towards the end of his life he died inaged The music of the Second Quartet is repetitive, though not in a perfectly imitative way.
Morton Feldman Kronos Quartet With Aki Takahashi Piano And String Quartet 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 Spinners Spinners ways the piece is unrealistic. It's length challenges performers-try holding Harvey Harris Shake The House 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.
June 29, October 27, March 03, September 30, July 15, August 15, Philip GlassKronos Quartet. December 11, Previous Next. Submitted by nonesuch. New Music. Release Date:. Friday, September 24, - Cover Art:. Nonesuch Selection Number:. Number of Discs in Set:. Wednesday, September 1, - Album Status:. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Release Date September 28, Genre Avant-Garde Classical.
Lamont Dozier Black Bach, Jack White High Ball Stepper, Various Bombay Disco Disco Hits From Hindi Films 1979 1985, Adriana Adriana, Wuf Ticket The Key, Marvin Gaye Moods Of Marvin Gaye, Solomon Burke If You Need Me, Darren Korb Bastion Original Soundtrack, Pekka Airaksinen One Point Music, Ween God Ween Satan Live