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Feldman, Morton: Trio (Hat [now] ART)

Reissuing the 1996 recording of Morton Feldmans' "Trio" performed by Ives Ensemble members Job Ter Haar on cello, John Snijders on piano, and Josje Ter Haar on violin, Feldman's compositions sparse with tension over spacious moments of lyrical beauty, tense dissonance, unhurried repetition, and a sense of drifting momentum; evasive yet beautiful music.
 

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product information:


UPC: 752156015529

Label: Hat [now] ART
Catalog ID: 155
Squidco Product Code: 25036

Format: CD
Condition: New
Released: 2017
Country: Switzerland
Packaging: Cardboard Gatefold 3 Panels
Recorded at Sendesaal Hessischer Rundfunk, in Frankfurt, Germany, on March 16th and 17th, 1996, by Rudinger Orth.


Personnel:

Morton Feldman-composer

Job Ter Haar-cello

John Snijders-piano

Josje ter Haar-violin

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Artist Biographies:

"Morton Feldman was born in New York in 1926 and died there in 1987. Just like Cage, a close friend, he was an American composer - an American artist - an American in the true sense of the word.

He identified himself by differentiating his views on composition from those of his colleagues in Europe. He was proud to be an American because he was convinced that it enabled him the freedom, unparalleled in Europe, to work unfettered by tradition. And, he was an American also in what may have been a slight inferiority complex in the face of cultural traditions in Europe, something he proudly rejected and secretly admired.

Like any true artist, Feldman was endowed with a sensitivity for impressions of a wide variety of sources, literature and painting in particular. His affinity to Samuel Beckett has enriched music literature by a unique music theatre piece, Neither, and two ensemble works. His friendship with abstract impressionist painters gave birth to a range of masterpieces, Rothko Chapel in particular. But even the knotting of oriental rugs gave Feldman musical ideas (The Turfan Fragments).

To the question as to why he preferred soft dynamic levels, he replied:

"- Because when it's loud, you can't hear the sound. You hear its attack. Then you don't hear the sound, only in its decay. And I think that's essentially what impressed Boulez . That he heard a sound, not an attack, emerging and disappearing without attack and decay, almost like an electronic medium.

Also, you have to remember that loud and soft is an aspect of differentiation. And my music is more like a kind of monologue that does not need exclamation point, colon, it does not need..."

Feldman also had an intriguing reply up his sleeve when it came to answering the question why he composed in the first place:

"You know that marvellous remark of Disraeli's? Unfortunately, he was not a good writer, but if he was a great writer, it would have been a wonderful remark. They asked him whydid he begin to write novels. He said because there was nothing to read. (laughs). I felt very much like that in terms of contemporary music. I was not really happy with it. It became like a Rohrschach test".

More than twenty years since his death, Morton Feldman's music is as alive as ever."

-Universal Edition (http://www.universaledition.com/composers-and-works/Morton-Feldman/composer/220/biography)
12/8/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Job Ter Haar: "I'm a cellist based in Amsterdam. I play mostly chamber music, on modern and period instruments. My groups include: the Van Swieten Society, the Ives Ensemble, Musica ad Rhenum and Floreal String Quartet. I am also working as a research coach at Codarts Rotterdam."

-Job Ter Haar Website (https://jobterhaar.wordpress.com/about/)
12/8/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"John Snijders was born in Heemskerk (the Netherlands) in 1963. He studied at the Royal Conservatory The Hague with Geoffrey Madge (piano), Stanley Hoogland (fortepiano) and Louis Andriessen (composition).

In 1985 he won first prize at the Berlage Competition for Dutch chamber music. He performed as soloist with a.o. the BBC Scottish Symphony Orchestra, The Brussels Philharmonic, The Hague Philharmonic, Dutch Radio Philharmonic Orchestra, Radio Chamber Orchestra and Dutch Radio Symphony Orchestra. From 1988 until 2013 he was a member of the Nieuw Ensemble Amsterdam. In 1986 he founded the Ives Ensemble, of which he continues to be pianist and artistic director. Since 2013 he is a member of the contemporary music groups Ensemble7Bridges and E7B Soundlab.

Both as a soloist and with these groups he has performed extensively at most major music festivals in Europe such as Festival d'Automne (Paris) Huddersfield Contemporary Music Festival (UK), Wien Modern (Vienna), Ars Musica (Brussels), Musica (Strasbourg), Settembre Musica (Turin), Bienale di Venezia (Venice).

Furthermore he has worked extensively as a rehearsal coach for Netherlands Opera, Dutch Travel Opera, Holland Festival, WDR Köln, English National Opera. In 2008 he was teacher of piano and chamber music at the Festival Internacional de Inverno de Campos de Jordão (Brazil). Also in 2008 he was awarded the Muziekgebouw Prize 2008 for the performance of NYConcerto for piano and chamber orchestra by Richard Rijnvos.

Several composers wrote pieces especially for him such as Gerald Barry, Christopher Fox, Richard Rijnvos, Gerard Brophy, Ivo van Emmerik, Rodney Sharman, Richard Ayres and Clarence Barlow.

Since January 2013 he is head of Music Performance at Durham University.

His research interests focus on piano performance practice in the 19th century, the American avant-garde, especially Morton Feldman and John Cage, music of extended duration, establishing connections between contemporary music and contemporary visual arts, and sound art."

-Durham University (UK) (https://www.dur.ac.uk/music/staff/profile/?id=11265)
12/8/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Josje ter Haar, violinist with the Ives Ensemble, the Radio Philharmonic Orchestra, Das Neue Ensemble Hannover and the Residentie Bachorkest.

"My first violin lessons I had as a child in Curaçao, together with my brother Job. There were no violin makers there and our instruments had to be purchased on holidays in the Netherlands. At the Royal Conservatoire I came in contact with Pieter Moerenhout from the NMF after several "violin wanderings". At that moment he had received a violin that had been in the cupboard for years after an injury from the original player. Out of nostalgia I have always let the old-fashioned chin keeper sit on it, sometimes to the astonishment of my colleagues "can you play with that?"

I remember very well that I heard "my" violin for the first time. It has a very light, bird-like sound that immediately makes you happy, while it sounds full in the low. It speaks very easily and has a narrow neck, so it is fine in my small hands. Job and I had a CD recording with the Iron Trio Holland that week and I wanted to play immediately on the new instrument for me.

Job and I are still playing together in the Ives Ensemble. Emma Breedveld, our colleague and Jobs friend, also plays a violin from the National Musical Instruments Fund. This way the Fund supports our entire family!"

"-Muziekinstrumenten Fonds (Translated by Google) (https://www.muziekinstrumentenfonds.nl/59/josje-ter-haar/?id=58)
12/8/2018

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track listing:


1. Trio, Pt. 1 19:16

2. Trio, Pt. 2 16:01

3. Trio, Pt. 3 16:48

4. Trio, Pt. 4 23:57
sample the album:








descriptions, reviews, &c.

"Feldman's canvas contains sparse, isolated tones and commentary in an environment of heightened concern. (Concern negates the idea that Feldman's music embodies an existential void.) Concern creates tension, energized by the composer's sense of responsibility, and desire. The music sounds familiar at times, where a motif occurs and is not forgotten, but returns in another place in another guise. Or multiple motifs (each instrument's personal statement) are reassembled into something resembling something else, or only itself. Even Feldman's repetition is never exact, as there are slight shifts in weight, shade, density, intensity. And when, eventually, the music ends, it just ends, for no need, or reason, with no explanation, no answers." on Art Lange, January 1997



"The Hat Hut label is working its way methodically through the rarefied products of Morton Feldman's last decade. The latest additions to its catalogue are this 20 on year on old recording of Feldman's Trio for piano, violin, and viola from 1980, as well as a disc devoted to two of the late piano works, Triadic Memories and Piano, played by John Snijders, who is also the pianist in the Ives Ensemble.Even though it is relatively short by the norms of late Feldman, the Trio is one of the less frequently recorded of his final works. Clocking in at 76 minutes, the Ives performance is relatively swift on a version on the Mode label, released seven years ago, lasts almost half as long again on but that only reinforces the sense of unease underpinning the whole work, with its unstable rhythms, constant dissonances, and repeatedly thwarted cadences. It demonstrates what a mysterious, unsettling piece the Trio is, with moments of rapt beauty alongside music that either obsesses on a single chord or comes close to disintegrating." on Andrew Clements, The Guardian


Get additional information at The Guardian, UK
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Hat Art
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