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Feldman, Morton

Patterns In A Chromatic Field [2 CDs]

Feldman, Morton : Patterns In A Chromatic Field [2 CDs] (Hat [now] ART)

Feldman's idiosyncratic large composition is also one of his more active, influenced by John Cage, and using a score that defines organizational procedures in chordal and chromatic patterns, as realized in this '93 recording by Rohan de Saram (cello) and Marianne Schroeder (piano).
 

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UPC: 752156020424

Label: Hat [now] ART
Catalog ID: Hat [now] ART2-204
Squidco Product Code: 23241

Format: 2 CDs
Condition: New
Released: 20160
Country: Switzerland
Packaging: 2 Cardstock Foldovers inside a Cardstock Box
Recorded at Westdeutscher Rundfunk,in Cologne, Germany, on September 29th and 30th and October 1st, 1993, by Stefan Hahn.


Personnel:

Morton Feldma-composer

Rohan de Saram-violincello

Marianne Schroeder-piano

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track listing:


CD1



1. Patterns In A Chromatic Field 1 28:05

2. Patterns In A Chromatic Field 2 29:55

CD2



1. Patterns In A Chromatic Field 3 22:12

2. Patterns In A Chromatic Field 4 25:10




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descriptions, reviews, &c.

"Morton Feldman was one of the most enigmatic composers of the 20th century. That is to say, he was extremely intelligent and enormously opinionated, pulled no punches when it came to passing judgement on historical figures or his peers, and loved to talk about his work, so that there is a remarkable collection of his writings and many scattered interviews to give us insight into his music. And yet the information he offered, frequently anecdotal, was often philosophic or metaphoric in nature, so that it ultimately revealed few specifics about his compositional methods and aesthetic choices. For example, as forthcoming as he was about his obsessive relationship with painting, primarily although not exclusively the work of the Abstract Expressionist painters of the late 1940s, '50s, and '60s who were his close friends, we find that for all his talk of the congruities between artistic and musical qualities of scale, surface, or space, among others, much of his music - especially the later, longer scores of which "Patterns In A Chromatic Field is a prime example - remains mysteriously idiosyncratic and marvelously cryptic."-Art Lange

Take an object.
Do something to it.
Do something else to it
Do something else to it.

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3/16, 3/2, 4/16, 3/2, 5/16 , 3/2, 6/16, 3/2, 7/16 , 3/2, 9/16 / 5/4, 3/16, 5/4, 4/16, 5/4, 5/16, 5/4 , 7/16, 4/4, 9/16, 4/4, 7/16, 4/4, 5/16, 4/4, 3/16 , 4/4, 5/16, 3/4, 7/16, 3/4, 9/16, 3/4, 7/16, 3/4

Morton Feldman: Patterns In A Chromatic Field at Chris Villar's website.



Read more about this item
The Squid
At The Squid's Ear!

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)
7/21/2017

"Deshamanya Rohan de Saram (born 9 March 1939) is a British-born Sri Lankan cellist. Until his thirties he made his name as a classical artist, but has since become renowned for his involvement in and advocacy of contemporary music. He travels widely and is much in demand for workshops and summer schools in addition to sustaining a schedule of adventurously programmed concerts.

Rohan de Saram was born to Ceylonese parents in Sheffield, Yorkshire, England. At age eleven he studied with Gaspar Cassad— in Siena and Florence. In 1955 at the age of 16 he was the first winner of the Guilhermina Suggia Award, enabling him to study in the UK with Sir John Barbirolli and in Puerto Rico with Pablo Casals. Casals said of him "There are few of his generation that have such gifts". In the following year he won a Harriet Cohen International Music Award.

At the invitation of Dimitri Mitropoulos, who described him in 1957 as "a rare genius...a born musician... an amazing...cellist", Rohan was invited to give his Carnegie Hall debut in 1960 with the New York Philharmonic, playing Khachaturian's Cello Concerto under the baton of Stanis aw Skrowaczewski. Gregor Piatigorsky presented him with a special bow. He has lived in London since 1972, first and foremost as a performer, although he has also taught at Trinity College of Music, London. From 1979 to 2005 de Saram was a member of the Arditti Quartet but now works with other artists to pursue his own artistic vision. He has also toured and recorded with Markus Stockhausen's "Possible Worlds" group. He worked personally with Zolt‡n Kod‡ly, Francis Poulenc, Sir William Walton and Dmitri Shostakovich. He has performed with the major orchestras of Europe, USA, Canada, Australia and the former Soviet Union with conductors such as Barbirolli, Sir Adrian Boult, Zubin Mehta, Seiji Ozawa and William Steinberg.

In ensemble or as a soloist, he has premiered works by Luciano Berio, Bose, Benjamin Britten, Sylvano Bussotti, John Cage, Sir Peter Maxwell Davies, Philip Glass, Sofia Gubaidulina, Paul Hindemith, Mauricio Kagel, Gyšrgy Ligeti (Racine 19), Conlon Nancarrow, Henri Pousseur, Wolfgang Rihm, Jeremy Dale Roberts (Deathwatch Cello Concerto, written for de Saram), Alfred Schnittke, Iannis Xenakis (Kottos ) and Toshio Hosokawa (the concerto Chant for cello and orchestra). Berio was so impressed by his performance of Il Ritorno degli Snovidenia that he wrote Sequenza XIV (2002) specially for de Saram, incorporating drumming on the body of the cello drawn from de Saram's skills with the Kandyan drum. The work was given its world and numerous national premieres by de Saram who then also made the premiere recording. He plays the standard classical cello works, including the great concerti, sonata cycles and Bach's six Solo Cello Suites.

He founded the De Saram Clarinet Trio and a duo with his brother Druvi de Saram. He is one of relatively few new music interpreters to have explored the world of improvisation.

He has made numerous recordings, both with the Arditti Quartet and as soloist, including Vivaldi's Sonatas, Edmund Rubbra's Soliloquy for cello and orchestra, Britten's Cello Suites No 1-3, John Mayer's Ragamalas and Prabhanda, Xenakis' Kottos and Elliott Carter's Figment I and II, and works by Bernd Alois Zimmermann, Peter Ruzicka, Gelhaar, Pršve and Steinke. 2011 releases include Harmonic Labyrinth with Preethi de Silva, and the first of two volumes of de Saram in Concert featuring magnificent Wigmore Hall performances of the Kodaly Sonata for Solo Cello (his score carries Kodaly's hand-written praise for his performance before the composer in May 1960), together with the Rachmaninoff Cello Sonata, in which he is accompanied by his brother Druvi."

-Wikipedia (https://en.wikipedia.org/wiki/Rohan_de_Saram)
7/21/2017

"Marianne Schroeder (born 1949) is a Swiss pianist and composer. She studied with Giacinto Scelsi. She played at Carnegie Hall, Lucerne Festival and Théâtre des Champs-Élysées. She worked with John Cage and Shigeru Kan-no.

She is a member of the Groupe Lacroix and as such is specialized in contemporary classical music. As a member of the Groupe Lacroix she has worked with international musicians, such as the Ensemble Sortisatio."

-Wikipedia (https://en.wikipedia.org/wiki/Marianne_Schroeder)
7/21/2017

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