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Eberhard Blum, Jan Williams, Morton Feldman. 30:27. January 1, 2006 5 Songs, 1 hour, 14 minutes ℗ 2006 Anthology of Recorded Music, Inc. Also available in the iTunes Store. Listen to Morton Feldman: The Viola in My Life by Various Artists on Apple Music. Stream songs including "The Viola in My Life: I", "The Viola in My Life: II" and more.
19 feb 2008 · After a long period of working with indeterminacy and graphic notation, Morton Feldman fixed every parameter of “The Viola in My Life” (written in 1970/71) – notes, timing, duration, dynamics – and still the feeling conveyed is of an exquisite tenuousness, as if the viola is a visitor to the composer’s musical universe, where sounds […]
4 ott 2014 · Provided to YouTube by The Orchard EnterprisesThe Viola in My Life: I · Morton Feldman · Paula Robison · David Tudor · Seymour Barab · Raymond DesRoches · An...
- 12 min
- 1952
- Paula Robison - Topic
Morton Feldman iniziò a comporre già negli anni quaranta, sebbene i suoi lavori giovanili (spesso marcati da una certa influenza di Alexander Scriabin) siano stilisticamente molto differenti da quello che avrebbe composto più tardi, e che lo avrebbe reso universalmente noto per il suo linguaggio affatto personale, differente dalla maggior parte dei compositori a lui coevi.
13 mag 2008 · The Viola in My Life is ECM's first disc devoted solely to Feldman, and it's a strong choice. The four-movement, 39-minute suite places Polish-born, Norwegian-resident violist Marek Konstantynowicz front and center throughout, but in differing contexts ranging from the piano duet of "The Viola in My Life III" to the full orchestral conclusion ...
This CD was originally titled Music Of Morton Feldman and released on Composers Recordings Inc. (CRI) as CRI CD 620. ——. Tracks 1 to 3 recorded at CAMI Hall, NYC on December 7, 1970. Track 4 recorded at Judson Hall, NYC on June 8, 1970. Track 5 recorded at the State University College, Fredonia, New York on December 17, 1978.
The Viola in my Life, Feldman's nostalgic cycle portraying the intimate web of associations he had with the instrument, is far from hardcore. The four parts of the cycle add up to a 40-minute listen and Feldman doesn't reach for such alienated extremes.
