Top 5 Favorite Feldman Works

[EigenUser]

I figured that no one else would make this, so I will:
Coptic Light
Cello and Orchestra
Triadic Memories
Piano and String Quartet
Rothko Chapel

[Sergeant Rock]

This is going to be a huge thread 

Sarge

[Ken B]

I haven't heard 5.
Well I have but only a few more than once. (And never Coptic Light Nathan.) So I can't list more than two:
90 year old lady
Rothko Chapel

[Karl Henning]

Triadic Memories
Crippled Symmetry
Why Patterns?
For Stefan Wolpe
Five Pianos

[San Antone]

For me there are not five pieces which I don't like, a lot; but here are five which I like more somewhat than others, at least today:

Intersections
Piece for four pianos
Bass clarinet and percussion
Piano and orchestra
Voice and instruments

[springrite]

Piano and String Quartet
Rothko Chapel
For Philip Guston
For Burnita Marcus
String Quartet #2 (Yes, THAT one)

[Mirror Image]

Rothko Chapel x 5

[Christo]

Rothko Chapel x 5

My words exactly. (Really, this was what I planned to say when I bumped on this thread). 

[Mirror Image]

My words exactly. (Really, this was what I planned to say when I bumped on this thread). 

[San Antone]

There's so much more to Feldman than the Rothko piece.   But I understand he is not for everyone.  But what composer is?  Resist the impulse to think of it as his limitation as opposed to your own.

[Karl Henning]

There's so much more to Feldman than the Rothko piece.

QFT

My response was going to be — and I'm a man who loves the piece, unreservedly — answering "Boléro x 5" in the Top 5 Favorite Ravel Works thread  0:)

[Mirror Image]

There's so much more to Feldman than the Rothko piece.   But I understand he is not for everyone.  But what composer is?  Resist the impulse to think of it as his limitation as opposed to your own.

Well sure there is, but this is the only work of his that I have an emotional connection with. Sure, I understand it's my own limitation for not liking more of his music, but why make this comment anyway? Any composer someone doesn't like has to do with the listener's subjectivity and not the composer's music. In the end, I can't help what I'm drawn to and, ultimately, love.

[North Star]

Crippled Symmetry
Triadic Memories
Violin and Orchestra

[San Antone]

Even though I have listened to a ton of Feldman, I am still discovering works I have not heard.  This week I listened for the first time to Durations, from the '50s and was bowled over.

[chadfeldheimer]

Cello and Orchestra
Rothko Chapel
Crippled Symmetry
Crippled Symmetry
For Bunita Marcus

My response was going to be — and I'm a man who loves the piece, unreservedly — answering "Boléro x 5" in the Top 5 Favorite Ravel Works thread  0:)

This would be a bit like "Für Elise x 5" in a Top 5 Favorite Beethoven Works thread 

[North Star]

This would be a bit like "Für Elise x 5" in a Top 5 Favorite Beethoven Works thread 

One shudders at the possibilities . . .
Valse Triste x 5
"Sheep May Safely Graze" x 5
Rondo Alla Turca x 5
1812 Overture x 5
Prelude in c# minor Op. 3 No. 2 x 5
The Lark Ascending x 5

[Karl Henning]

This would be a bit like "Für Elise x 5" in a Top 5 Favorite Beethoven Works thread 

Well, per Larry's post yonder —

Bolero has been criticized for monotony, and Ravel himself thought it exhibited "no form, properly speaking, no development, no or almost no modulation." But though the last of these are true, the work in fact demonstrates a perfect understanding of a classical double-variation form, in this case in which the variations are confined primarily to changes in orchestral timbre, but they preserve the momentum found in the classical variation form where the phrase structure of the theme (in this case two themes) remains constant. Typically a classical variation structure will conclude with some departure from the momentum of maintaining this constant phrase structure (such as a concluding fugue), and here Ravel breaks the momentum by the sudden modulation from C major to E. The piece also succeeds because, against the monotony of the snare-drum figure, both the main and secondary themes exhibit considerable melodic and rhythmic asymmetry, and very little internal repetition. See for instance how the placement of the G in measures 3 and 4 offsets the stability of the basic 3/4 rhythm:
http://fr.wikipedia.org/wiki/Bol%C3%A9ro_(Ravel)

— the Boléro is subtler and more accomplished music than many give it credit for  0:)

[North Star]

Well, per Larry's post yonder —

— the Boléro is subtler and more accomplished music than many give it credit for  0:)

Absolutely. It might be among the five Ravel works I love the least, but that doesn't mean I don't like it a great deal. 

[Karl Henning]

Absolutely. It might be among the five Ravel works I love the least, but that doesn't mean I don't like it a great deal. 

QFT 

[chadfeldheimer]

— the Boléro is subtler and more accomplished music than many give it credit for  0:)

I know and I like it too, but I also like "für Elise" even if it is by far not the most subtle Beethoven work.