Morton Feldman: String Quartet No. 2FLUX Quartet MODE Feldman Edition 6 / Mode 112 [DVD/A 367 mins] String Quartet No.2 is a colossal work in one single continuous movement, and it is one of Feldman’s better known chamber music works. It is also the longest - lasting anything from four to six and a half hours, depending on the choice of tempo and the performers’ stamina. Feldman specifies on the score a tempo of crotchet = 63 – 66. This recording by the Flux Quartet lasts six hours, seven minutes and seven seconds, taken slightly slower than the composer indicates. This does not really make much difference in the general plan and scope of the work or the perception of form because of the work’s elongated overall duration. Feldman was particularly fascinated by the patterns of oriental rugs, and he spent hours examining these closely. He aims to transfer this process to the sonic domain, and this mystical work resembles its source of inspiration and extra-musical purpose. This attempt in many ways relates to Scelsi’s approach and his conviction that when you hear one sound for a long time, that sound becomes bigger, it envelops you, and the whole universe exists in that sound. Feldman does something similar here with a pattern that is stretched within a gigantic time span. To achieve this, both composers, by definition, had to use repetitions, or varied repetitions, either written down (Scelsi) or by using repeat marks and signs as in Feldman’s case. Perception of patterns and textures, of course, is based on memory, and that is really what cements the various parts of this long work together and the listener’s attempt to connect with that process. The work inevitably has a meditative feeling but equally expressive character.
The composition is unattainably long, but it does compensate in context, requiring our maximum attention throughout. Feldman achieves this using a number of strategies: exceedingly soft dynamics (that create the natural tendency to concentrate more), splashes of louder tones at strategic points, change from modality to chromaticism, interplay of small pitch cells and, of course, gorgeous colours frequently achieved through specific position of the bow on the string and harmonics. The Flux Quartet enhances these features, taking the liberty to use vibrato at points, which is not only a highly convincing and successful choice but also one that adds considerable interest to the global timbral palette of the work. Evis Sammoutis See a selection of reviews at http://www.moderecords.com/catalog/112feldman.html [Editor]
Morton Feldman: For Christian Wolff (1986) California Ear Unit: Dorothy Stone, flute; Vicki Ray, piano, celesta BRIDGE 9279A/C (Three Hours, Three Discs) Having enjoyed listening through the 2nd string quartet, I regret to confess that this one, three hours long, has beaten me! Even more austere and definitely an acquired taste. The dedicatee has written: “I found the experience of listening to it beautiful and interesting – it moves away partly from our (Morty's, John Cage's and mine) original preoccupation with just sound and sonority into areas of self-awareness about listening, being a listener, as such, because there's so much time to be thinking of this and that as well as just listening.” I have sampled the first and last discs, hearing mostly exchanges of single notes between flute and piano, and I have the middle disc playing on my computer now; pleasant enough as background, the celeste bringing a little variety... I hope to persuade one of our expert reviewers to tackle it. Peter Grahame Woolf
|