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Feldman, Morton

For Bunita Marcus

(Hat [now] ART

- Switzerland)

Feldman, Morton: For Bunita Marcus (Hat [now] ART)

Feldman's 1985 solo piano composition for Feldman's pupil and long-time associate, from a 1990 digital recording remastered for this new edition.

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product information:

UPC: 75215601742

Label: Hat [now] ART
Catalog ID: Hat[now]ART174
Squidco Product Code: 11218

Format: CD
Condition: New
Released: 2009
Country: Switzerland
Packaging: Cardstock Gatefold Sleeve 3 panels
Digital recording on September 14, 1990 at Studio DRS Zurich by Peter Pfister. Re-mastered January 2009 by Peter Pfister.

Personnel:

Hildegard Kleeb-piano

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Artist Biographies:

• Show Bio for Hildegard Kleeb
"Hildegard Kleeb (1957 in Richenthal, Willisau District) is a Swiss pianist.
After her first piano and oboe lessons in music school in Zug, she studied piano under Cécile Hux and oboe under Hans-Martin Ulbrich at Zurich Music school from 1978 to 1982. She also studied later under Eric Gaudibert in Geneva, under Claude Helffer in Paris and under Jürg Wyttenbach at the City of Basel Music Academy. In 1990, she was a visiting scholar at the academy of plastic arts in Helsinki and from 1992 to 1995 at the Wesleyan University in Connecticut in the United States, where she also worked in Anthony Braxton ensemble in New York City and in Javanesian Gamelan orchester. She began to work there with Anthony Braxton, Alvin Lucier and Christian Wolff. She is married with the trombonist Roland Dahinden.
Kleeb is an international performer of 20th-century classical music and improvisator. She has performed in the following institutions and events: Archipel Festival Genève, Musikfestwochen Luzern, Donaueschingen Festival, Kunsthalle Basel, Knitting Factory NYC, Gesellschaft für akustische Lebenshilfe Kiel, Steirischer Herbst Graz, Bludenzer Tage für Neue Musik, Musiktage Rümlingen, Merkin Concert Hall NYC, Theater Casino Zug, Pori Art Museum, Concert Hall Göteborg, Crowell Concert Hall Wesleyan University Connecticut, The Kitchen NYC, Kunsthaus Zug, Kunstmuseum Cacéres E, Kunstmuseum Badajos E, Madrid Concert Hall, Ballhaus Berlin, Swiss Institut NYC, Kunstmuseum Boros, Yale University Gallery, Porgy & Bess Wien, Künstlerbegegnungen St.Lambrecht A, Museu Serralves Porto.
Kleeb has participated in the first performances of Peter Ablinger, Maria de Alvear, Anthony Braxton, John Cage, Roland Dahinden, Hauke Harder, Bernhard Lang, Alvin Lucier, James Tenney, Daniel Wolf and Christian Wolff.
Interdisciplinary collaboration with the visual artists like Stephane Brunner, Philippe Deléglise, Inge Dick, Daniela Keiser and Roman Singer.
Since 1987 duo with Roland Dahinden
Since 1992 trio Dahinden-Kleeb-Polisoidis
Since 2003 duo with Pelayo Fernandez Arrizabalaga"
-Wikipedia (https://en.wikipedia.org/wiki/Hildegard_Kleeb)
9/18/2019

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track listing:

1. For Bunita Marcus [1] 25:12

2. For Bunita Marcus [2] 20:57

3. For Bunita Marcus [3] 25:30

sample the album:

descriptions, reviews, &c.

"Feldman once wrote that... "Renoir said that the same color, applied by two different hands, would give us two different tones. In music, the same note, written by two different composers, gives us-the same note. When I write a B flat, and Berio a B flat, what you get is always B flat. The painter must create his medium as he works. That's what gives his work that hesitancy, that insecurity so crucial to painting." I believe, though, that Feldman underestimated the strength of his involvement in composing that B flat. Feldman's B flat does sound different, due to his, almost painterly, touch. Dependin g upon the context, Feldman's B flat can suggest anxiety, melancholy, heroism, exaltation. The experience may be relative, may even be insecure, but it is inevitably satisfying, if one commits to it as fully as Feldman did to its composition. For Bunita Marcus has an aura like that which emanates off Rothko's greatest paintings, an aura that makes the experience, no less than the creation, more than an act of will, an act of devotion."-Art Lange

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