Pianist and composer Daniel N. Seel plays four pieces from four generations of different composers including Stefan Wolpe, Morton Feldman, Walter Zimmerman, and his own work.
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Label: Hat [now] ART
Catalog ID: Hat[now]ART139
Squidco Product Code: 18488
Packaging: Cardstock 3 page foldover
Recorded June 16th-18th, 1999 at Sender Freies Berlin by Wolfgang Hoff.
Daniel N. Seel-composer, piano
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1. Battle Piece - I 3:22
2. Battle Piece - II 4:38
3. Battle Piece - III 2:04
4. Battle Piece - IV 5:11
5. Battle Piece - V 1:25
6. Battle Piece - VI 2:28
7. Battle Piece - VII 4:14
8. Palais de Mari 23:29
9. Wüstenwanderung 19:25
10. Nacht-stücke 9:10
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"It is only fitting that the coda to this recital of most demanding 20th century piano music should only be a quiet epilogue, a sparse and subtle probing of single piano sonorities, but also a creation of the brillant young pianist who manages to do justice to music as different as those of Wolpe, Feldman and Zimmermann. For Daniel N. Seel is not only a of renown, but a prodigious composer, whose oeuvre includes, apart from numerous piano pieces, orchestral music, an opera, scores of various instrumental groupings and performance-oriented pieces. And since Seel is a former student of Walter Zimmermann, this pianissimo finale is also another link in the many aestethic and biographical strands joining Stefan Wolpe, Morton Feldman, Walter Zimmermann and Daniel N. Seel, in spite of all obvious differences between those representatives of four musical generations."-Peter Niklas Wilson
• Show Bio for Morton Feldman
"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)
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