Author Topic: Morton Feldman (1926-1987)  (Read 97408 times)

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Offline Mandryka

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Re: Morton Feldman (1926-1987)
« Reply #820 on: November 25, 2021, 02:09:17 PM »


The Zukofsky/Schroeder I've had since the 90's so that is what is most familiar to me. There is a pervasive scraping sound in many sections which I was never sure was intentional or not until this past summer when I acquired some other versions and they don't have that.
Regardless, I would recommend and you can choose whatever quality download you like at whatever price you choose at Bandcamp, even $0.
Those extraneous sounds are on the download as well though.

Maybe I'm a bit in the shiny new toy syndrome as far as recent favorites.

I probably listen most now to the Orazbayeva/Knoop on All That Dust. Has the odd quality of wanting me to start up again as soon as it finishes which is rare for me given its length.

My other favorite at the moment is the recent Hat Hut by Wegmann/Kunz.
The sound is extremely loud and intense so probably not for you but is exquisite if you can capture the 'right' volume. The trails of vanishing notes doesn't come across listening at the Bandcamp site online. Though this is one of the longer versions(90 minutes) it doesn't feel so and pairs well with the Fong(66+ minutes) as a study in contrasts.

This is very much my experience with Wegmann/Kunz and with Orazbayeva/Knoop. In truth I think it probably is a major masterpiece so it’s a pleasure to have these different recordings. However where we part company is with Schroeder/Zukofsky because, on my transfer, the violin is so closely recorded, it makes the music sound less still and more colourful - that stillness is what I like so much in this.
Wovon man nicht sprechen kann, darüber muss man schweigen

Online vers la flamme

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Re: Morton Feldman (1926-1987)
« Reply #821 on: November 25, 2021, 02:22:17 PM »
Is For Philip Guston the Der Ring des Nibelungen of contemporary classical music?

Offline T. D.

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Re: Morton Feldman (1926-1987)
« Reply #822 on: November 25, 2021, 03:26:30 PM »
Is For Philip Guston the Der Ring des Nibelungen of contemporary classical music?

I can't say...and it'd be an imperfect analogy in any case.
Off the top of my head, Stockhausen's Licht and La Monte Young's The Well-Tuned Piano also come to mind.
For Philip Guston probably gets more ink than either of those...I don't know the performance history of Licht, and The Well-Tuned Piano could be classified as "the M(inimalist) word", which turns many off.
But Feldman's String Quartet #2 seems to get just as much publicity as FPG.
Having mentioned La Monte Young, Sorabji might be in the mix somewhere, depending on your definition of "contemporary".