Strings, Keyboard, Percussion, Voices, Horn
|New from||Used from|
Audio DVD, Limited Edition, January 3, 2008
Sixteenth in a series with previously unreleased works by well-known composers, this 90-minute 96kHz|24bit Audio DVD features the world premiere recordings of 11 chamber works by Barbara Monk and Morton Feldman.
Another husband and wife team with comparable balance of achievement. After the upsurge in Morton Feldman's popularity after his death, there are still some works left unrecorded, mostly miniatures. This audio DVD, consisting mostly of compositions from the 1950s and 60s, has taken care of some of them. Running for half a minute, the most minimal of them here is For Stockhausen, Cage, Stravinsky and Mary Sprinson from 1972 (Sprinson was a girlfriend of Feldman). The most compelling piece here, in my reckoning, is Dance Suite [For Merle Marsicano] from 1963. It is a spacious, hieratic-sounding work for percussion instruments, including piano and celeste. Extensions 5 is a beautiful work for two cellos in the Extensions series. There are also four works by Feldman's wife Barbara Monk Feldman, which were written between 1988-98. --Andy Hamilton, The Wire, February 2011
This is an audio-only DVD containing early Morton Feldman chamber works from the 50s and 60s along with four pieces by his wife Barbara Monk Feldman, once a student of his at SUNY-Buffalo. Mrs Feldman's four pieces date from the late 80s and the 90s. The music is obviously influenced by her then recently deceased husband's, but hers is slightly gentler and dare I say it, 'feminine'. Her Duo for piano and percussion from 1988 is very beautiful. Her notes, involving vanishing lines in Gorky, could have been written by her husband, though the piece probably could not have (the influence is obvious, though). The Gentlest Chord (1991), on a Rilke sonnet, is sung by unaccompanied soprano, and also is influenced by early Cage. Clear Edge (1993) is a lovely five-minute piece for piano, unassuming and freely tonal, and was written in Cage's memory. Finally, For a Violet Cloud (1998) is a mysterious drifting piece for violin and cello that strives to produce 'barely identifiable' natural forms floating through space. This it does, though 25 musical minutes of it may try the patience of many. Sound is SACD quality -- which, I am told, is the point of recording music on DVD (which this label does exclusively). --Allen Gimbel, American Record Guide, March/April 2011
OgreOgress Productions has been putting out a string of wonderfully arcane recordings that simultaneously meet a great need. In particular they've been devoted to filling in the gaps of the Morton Feldman discography. I have a few of the releases, and am very grateful for them. This disc opens yet another chapter in the archival quest, including several pieces by the composer's widow, Barbara Monk Feldman. The 1963 four-movement, 20-plus-minute Dance Suite is the most substantial work on the Morton Feldman side of the program, and most similar in its rhetoric to Feldman's landmark works of the period. the 1998 Pour un Nuage Violet for violin and cello is the work that stands out. It's about 25 minutes, resolutely nonlinear in its form and unfolding, and uses extensive repetition. But it also has ornate instrumental lines that are arabesques, like ink swirling in water. It's a very different, personal take on the M. Feldman paradigm. I find it moving and haunting. A must for all Feldmaniacs. --Robert Carl, Fanfare, March/April 2011
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
Following "Two Instruments (1958) for horn and cello" are two short beautiful vocal pieces which brought me back down to earth "Wind (for Naomi Newman) (1960) for voice and piano" and " Followe Thy Faire Sunne" (1962) for voice and chime" both beautifully done.These are then followed by Dance Suite (For Merle Marsicano) (1963) for percussion and piano/celeste, a longer piece in four movements (21:22) which is spacious, beautiful and again, unbelievable that this was unheard before. This piece predates and in ways reminds me of later works like "Crippled Symmetry". Rounding up the 11 Morton Feldman compositions on the Audio/DVD is a very short piece "For Stockhausen, Cage, Stravinsky and Mary Sprinson" (1972) for piano and cello (:33). I was wondering who Mary Sprinson is or was, and after a little research found out that apparently she was a girlfriend of Feldman's in the 70's.
So if this isn't enough this remarkable Audio/DVD includes four works by Feldmn's wife Barbara Monk Feldman. written between 1988 and 1998, all done a decade after her husbands death. these pieces include " Duo for Piano and Percussion 1980" (12:49), "The Gentlest Chord (1991) for voice" (3:02), Clear Edge (1993) for piano" (4:59) and "Pour un nuage violet (1998) for violin and cello (24:33). I have to be honest here and say that I have never heard anything by Barbara Monk Feldman before, at first listen I couldn't help but be reminded of here husband, but with a second listening I could hear a voice of her own, although obviously(to me) influenced by her husband there is kind of an edge to here writing separating the two a bit. Hearing these will cause me to find some recordings by her and to search out more information about her, I'm very glad I heard these.
The playing on this OgreOgress productions DVD-Audio disc is top notch, you can tell allot of love went into this project, and the sound quality is as usual first rate. These recordings are not only remarkably done on all levels, they are historically very important and should be a part of every Modern Music library. Thank you very much OgreOgress productions!
The music of Barbara Monk Feldman, who studied with and later married Morton Feldman, rounds out this recording. Her music, while absolutely compatible with the music of Morton Feldman, is distinctive and lovely in its own right. The "Duo for Piano and Percussion" and "Pour un nuage violet" are nothing short of magical.
This recording is DVD-Audio and contains a lot of music, much more than an standard audio CD. Even so, the music never becomes tiresome. It's astonishing depth, beauty, and variety make it a recording that bears repeated hearings. I have personally listened to it four or five times (I lost count) straight through, from beginning to end, and was fascinated and charmed each time.
which only this music can produce. Even if you listen to this music in a place full of distractions, these sounds will pull on you deeply to reveal that aesthetic depth, spiritual depth found in the quiet, in the gentle. Radical, yes radical indeed.