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1.Morton Feldman: Rothko Chapel; Why Patterns? from: New Albion Records September 24, 1992
Average Rating: >>More Details		Off The Bookshelf's Price: $17.98 Prices subject to change. Used Price: $10.95
Listening to Feldman's music today, it can sound dated and derivative- if only because so many have followed him down that road since. We've heard a lot of this sort of minimalist tone poem from numerous hacks and sci-fi film composers. (I'm sure John Williams keeps a stack of Feldman CDs handy when he writes incidental music for the Star Wars films.) But Feldman can still sound fresh; unlike the hacks, he is fully capable of composing melodies that linger on in the mind long after the piece ends. He's rather stingy with them, but that only makes them even more welcome when- as in the final movement of "Rothko Chapel"- they finally appear. This, along with "The Viola in My Life", represents the most accessible part of Feldman's work, and probably (I would argue) the part most likely ... Read More

2.The Viola In My Life by: Morton Feldman May 20, 2008
Average Rating: >>More Details		Off The Bookshelf's Price: $17.98 Prices subject to change. Used Price: $13.46
Listening to Feldman's music today, it can sound dated and derivative- if only because so many have followed him down that road since. We've heard a lot of this sort of minimalist tone poem from numerous hacks and sci-fi film composers. (I'm sure John Williams keeps a stack of Feldman CDs handy when he writes incidental music for the Star Wars films.) But Feldman can still sound fresh; unlike the hacks, he is fully capable of composing melodies that linger on in the mind long after the piece ends. He's rather stingy with them, but that only makes them even more welcome when- as in the final movement of "Rothko Chapel"- they finally appear. This, along with "The Viola in My Life", represents the most accessible part of Feldman's work, and probably (I would argue) the part most likely ... Read More

3.25 Years: Retrospective by: Suzanne Elder, Paul Hillier, David Krakauer, John Adams, Franguiz Ali-Zadeh, Ken Benshoof, George Crumb, Morton Feldman, Philip Glass, Osvaldo Golijov, Henryk Gorecki, Sofiya Gubaydulina, Arvo Part, P. Q. Phan, Astor Piazzolla, Steve Reich, Terry Riley, Alfred Schnittke, Peter Sculthorpe, Kevin Volans, Aki Takahashi, Ellen L. Hargis, Neal Rogers, Kronos Quartet October 27, 1998
Average Rating: >>More Details		Off The Bookshelf's Price: $99.98 Prices subject to change. Used Price: $75.99
This is really a set to treasure. The Kronos quartet's credentials, along with the Ardittis, as champions of new music are not in question, but whereas the Ardittis champions the avant-garde end of the spectrum, the Kronos focuses on the more, shall we call it "post-avantgardish" composers. Thus, Kronos has, in addition to playing and commissioning music by leading contemporary composers - in particular those associated with minimalism - made forays into world- and non-western (and even pop) music. Indeed, it is perhaps striking that none of the composers featured on this set are, at least originally, from Western Europe (but there is, to be fair, a disproportionate number of Americans here). Still, the material - mostly reissued from earlier Kronos releases - displays a wide variety of styles, from uncompromising ... Read More

4.Morton Feldman: Piano and String Quartet / Aki Takahashi, Kronos Quartet from: Nonesuch September 28, 1993
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... recurring ... disorientating ... expanded loops and interludes ... anti-minimalist ... arch-modernist ... parastatic piano arpeggio apparitions ... elusive supraliminal strings ... uneasy pastoral ... zombie amniotic ... hyper-expressionist absurdist ambient post-buddhist furniture music. A spiral galaxy of stars to Aki Takahashi & the Kronos Quartet for recording this bizarre, surreal piece.

5.Feldman: Piano and Orchestra; Flute and Orchestra; Oboe and Orchestra; Cello and Orchestra by: Morton Feldman, Hans Zender October 06, 2000
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It is hard to state how unusual this music is. Even for a veteran listener, Feldman's music requires a different set of ears. The solo instruments don't function in the way they might in a more typical concerto. The music doesn't appear to present a narrative--it doesn't develop in familiar ways. But it's strangely compelling. Feldman has occasionally been lumped in with the minimalists that were his contemporaries. This is most unfair. The best of minimalism usually had little substance beneath the gimmickry. And it wore out its welcome quickly. But I'll keep coming back to Feldman, if only to figure out just what in the heck is going on in there. Feldman clearly understands the orchestra. What seems to be repetition is in fact full of tiny adjustments in instrumentation. The harmony is rich, even ... Read More

6.American Elegies from: Nonesuch March 05, 1991
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When I was in Dr. Knowles music appreciation class in college, I questioned the validity of modern 'art' music, because I didn't understand it (then). Silly me. He recommended John Adams. The local music store, which was stocked heavily with rap and techno and the like, was very limited in their classical selections. This was the only one they had, so I took a chance and bought it. Talk about opening my eyes (and ears).... the vocal works are absolutely mind blowing. Fog Tropes was a little creepy, but it definitely grew on me. You can call this my gateway CD, because I've been searching out 20th century since then. Thanks Dr. Knowles. :)

7.Feldman: String Quartet (1979) from: Naxos American January 17, 2006
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Feldman felt he had created a masterpiece with his first string quartet, which gained the nickname "100 minutes" based on its first performance in NYC, May 4th, 1980, because it lasted well over 90 minutes. This recording from 1993 by the Group for Contemporary Music (still the only recording, originally released on Koch in 1994), isn't quite that long -- it's only 78 minutes! In February, 1981 the String Quartet was performed at the CalArts Contemporary Music Festival, and Feldman later said that the audience was so full of tension that it was "like a lynch mob." Throughout the 1970s Feldman had written many works for orchestra, including his outstanding "still life" concerto works (ie, "Cello and Orchestra," "Piano and Orchestra," "Violin and Orchestra, etc). These works grew longer toward the end, but it was the String Quartet that launched Feldman ... Read More

8.Feldman: Crippled Symmetry from: Bridge October 19, 1999
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In the last decade of his life, Morton Feldman began composing longer and longer works. His increased fame by that time gave him the opportunity to explore extended compositions without there being much resistence from players or listeners alike (although his good friend John Cage once asked "Why does it have to be so long?") This composition, as with all of his late masterpieces, explores it's own sound world with continual interest and beauty, and leads one to think that the composition could have been much longer...so profound are the ramifications of the sounds Feldman projects into time. The instrumental trio combination of flute (with the performer doubling on the rare, haunting and beautiful bass flute), glockenspiel/vibraphone and piano/celesta, has a sublime purity that Feldman found endlessly interesting. One imagines this composition to be a kind of multicolored ... Read More

9.American String Quartets, 1950-1970 from: Vox (Classical) September 26, 1995
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Man, it's discouraging to see people piddling all over music like this. 1950-65 was a great era for American culture; sure the European influence was lingering but American composers (and artists and filmmakers) were finding a voice, an expression of some quality uniquely American that had never appeared before. American music could be something other than Hoe-Downs, Charlestons, and Nearer my God to Thee (sorry, Charles, and you know I love you anyway). This was a taut and crisp intellectual America that was finally gaining ascendancy, something new to the world, brilliant and beautiful. I think of a wonderful photo of Elliott Carter with Stravinsky in New York at some gallery or concert hall circa 1960 or so. Stravinsky looks old and seedy, like a Russian refugee even though he had years to ditch that; Carter, alert and in a sharp suit, looks like the future-on-the-half-shell. It all ... Read More

10.Morton Feldman: For Samuel Beckett by: Morton Feldman January 25, 2000
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Feldman's late works are really entities rather than compositions. They are closed worlds, sealed off by their limited means and extraordinaty length. But For Samuel Becket is one of the more extreme of these pieces, not in length but in character. The work is close, almost claustrophobic and yet deeply alluring. It is rare in Feldman's output, closer to Coptic Light than to any other Feldman work that I know. The work is scored for solo strings, winds and brass in pairs and a small Feldmanesque group of piano, mallet instruments and celeste. The winds and strings create sustained sound clusters while the small group contributes small splashes of dissonant color chords. The basic material of the piece is set up at the beginning of the work and doesn't vary greatly throughout it's 40 plus minutes. Small variations in chords, rhythmic placement, tonal color and pattern make the interest ... Read More

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