Morton FELDMAN (1926-1987)
2 Pieces (for Danny Stern) [1:44]
Extensions 5 [4:21]
2 Instruments [13:26]
Wind (for Naomi Newman) [1:31]
Follow Thy Faire Sun [1:54]
Dance Suite (for Merle Marsicano) [21:22]
For Stockhausen, Cage, Stravinsky, and Mary Sprinson [0:33]
Barbara MONK FELDMAN (b.1953)
Duo [12:49]
The Gentlest Chord [3:02]
Clear Edge [4:59]
Pour un Nuage Viole [24:33]
Karen Krummel (cello), Glenn Freeman (percussion), Paul Hersey (keyboards),
Christina Fong (violin), Debora Petrina (piano/celesta), Paul Austin (French
horn), Gwendolyn Faasen (voice), Alicia Eppinga (cello), Brian Craig (voice),
Barbara Witham McCargar (voice)
rec.: Kretschmer Recital Hall of Aquinas College, Trinity United Methodist
Church of Grand Rapids, Gwendolyn Faasen Studio and Spirit House, Prague State
Opera Studio, Mexicains Sans Frontières, First Baptist Church of Kalamazoo
and OgreOgress Productions. Stereo DVD-A
OGREOGRESS-40720 [91:11]
Given the extreme durations of many of his works, Morton Feldman seems like
an appropriate candidate for new media formats offering extended playing times.
However, there is nothing on this disc that exceeds half an hour, and as the
recordings were made in around seven locations and mostly with different performers,
this collection feels more like a compilation, albeit with relatively logical
repertoire choices.
The disc takes up two Feldman themes, his early work and the music written
by his widow after his death. With the exception of the very earliest work,
two pieces (for danny stern) everything falls within a recognisably
Feldman-esque aesthetic. There are no great discoveries here, and the disc's
appeal will probably be limited to Feldman enthusiasts. There are enough of
those out there to make the project worthwhile.
The Morton Feldman works date from 1948 to 1972. It is difficult to trace
a career trajectory here. Instead, we have the serial, or at least serial-inspired
two pieces from 1948, two songs from 1960 and 1962, and four instrumental
pieces which are much more typical of the minimalist aesthetic for which he
is known. These pieces have the same timeless quality as his extended chamber
compositions, with two instruments (1958) and dance suite (1963)
demonstrating that Feldman's music is just as effective when presented in
small doses as it is when strung out to four or six hours.
The two songs are curiosities. The texts are by Pasternak and Thomas Campion,
and they both come in at under two minutes. Listening to follow thy faire
sunne (1962), the Campion setting for male voice and chime, suggests a
vocal quality to Feldman's instrumental works. The individual, plaintive tones
of the singer are remarkably similar to the individual string notes in his
quartet and quintet writing. Rothko Chapel is about the only vocal
work by Feldman to have made a lasting impression, but listening to these
short songs, it seems a shame that he did not spend more time writing for
voice as it suits his style well.
Barbara Monk Feldman was a pupil of Morton and latterly his wife. Her music
is very much in the spirit of his, perhaps a little more pedantic in its use
of stacked intervals and atmospheric effects, but basically on the same meditative
plane. Her works are presented chronologically, and all date from after Morton's
death. If anything, there is a gradual move here away from Feldman's aesthetic
and towards that of John Cage. duo for piano and percussion (1988)
is the most Feldman-esque, while pour un nuage violet (1998) for violin
and cello, is more in the spirit of Cage's string quartet works, the individual
notes more visceral and with less of that immutable, iconic quality.
The performances are generally good, although neither composer makes any great
demands on the singers or players. In pour un nuage, the music occasionally
goes into parallel octaves or unisons, putting the players' intonation under
harsh scrutiny. The recorded sound quality is better in the instrumental works
than the vocal ones, which all sound slightly muffled.
Which raises the question – why issue this release on audio-only DVD? The
extended duration is certainly a benefit, but the audio quality rarely seems
superior to CD. There is no surround sound and no visuals to speak of. If
anything, the recording, and indeed the whole series - this is the 16th
in a run of releases of obscure works from well-known American composers -
seems better suited to distribution by download, especially as the box design
is cursory at best.
Gavin Dixon
Two Feldman themes: his early work and the music written by his widow after
his death.