I love this! To the 4 people who thumbs-downed this performance of this piece, I'd say go listen to something that suits your musicality. Don't waste your time trying to listen to music of this caliber.
Feldman has found a kind of perfect timing to allow musical tones to simply be their beautiful selves and for us to experience them as deep mysterious entities. The graphic is a Brice Marden drawing which I think is the case of another artist trying to integrate the beauties of the calligraphies of the East into Western art. Even if it can never be entirely successful he's made a good job of it.
@Jeff Sylvester This was written 2 years before his death and he was a well known composer. But the recording system made it possible for composers to get their work into distribution without premieres and concerts. I don't know the history of this piece. I have to believe if it used prepared piano it would have been mentioned by someone, for example Hamelin. I don't pretend to be knowledgeable about the nuts and bolts of music so I hardly know what Feldman means by the following, but here it is anyway. "For me, rhythm doesn’t exist. I would rather use the term “rhythmicize.” I started to get interested in metre; for me, at the moment when you use it, it implies the question, “How do I get beyond the bar-lines?” I wrote down 4/4, left a little space, drew a bar-line and then I wrote over that bar-line. “The black hole of metre,” because some people shouldn’t come too close to the bar-line - there is a lot of music where the style tends to pull it across the bar-line. For Bunita Marcus mainly consists of 3/8, 5/16 and 2/2 bars. Sometimes the 2/2 had musical importance, like at the end of the piece. Sometimes the 2/2 acts as quiet, either on the right or the left or in the middle of a 3/8 or a 5/16 bar, and I used the metre as a construction - not the rhythm - the metre and the time, the duration which something needs. What finally interested me were the “development sections,” where I was using mixed-metre. It went 2/2, 3/4, 5/8 … so I used metre up to a certain point as a period of instability. I didn’t consider it a development section where I - I can’t find a better expression - developed the metre. Then, like every other composer, I thought, how much change is possible in this grid? And I said; accelerate it or slow it down. But I couldn’t make a definitive plan - that wouldn’t work. It can only work if you go along with the material and see how it is turning out."
Wonderful performance! I'm just discovering Feldman's works. I love how you can hear page-turning of the sheet music in this recording, it adds an extra intimacy, like you are sitting right next to the pianist.
This is transcendental in the best possible way. The composition is very aware of the tempered piano, sostenuto, etc.; the performance even more so. Thank you.
I think Morton's reputation is the equal of John's to those who appreciate this type of music and research. A fine performance here as well. Many thanks.
MORTON FELDMAN is a much more enjoyable composer than Cage, and I really enjoy the prepared piano works of Cage immensely. I don't know what ALAN HOVHANESS thought of Morton Feldman's music, but I do know......
For Bunita Marcus was premiered by my friend Aki Takahashi, a japanese piano player, in 2010 she premiered my piano and electronics work Ashimakase, 10 minutes as an openinf to this wonderfull piece, it was an honor to open the concert for Feldman, one of my favourite composers, if any one is interested here is the link for Ashimakase soundcloud.com/artesonico/ashimakase
so you performed this yourself?fantastic, very well done!i've been thinking of playing this one, myselfi did a performance of palais de mari a few months ago, and it was very well received
One has to ask after reading Feldman : much thought and reflexion but outside of the concert hall who will digest or take the time to listen to one hour , 90 minute and 2 hour pieces . I've forgotten Feldman's explanation on this point . His jewish jokes tell us a lot . He did what he wanted it was maybe a way too to carve out a space for himself alongside Cage, Carter, Babbit , Earle Brown and others . I d k .
MORTON FELDMAN is a much more enjoyable composer than Cage, and I really enjoy the prepared piano works of Cage immensely. I don't know what ALAN HOVHANESS thought of Morton Feldman's music, but I do know...... (repeated below!)
It is quite shallow, not at all evocative and just makes me think of the foam of soft waves under a sky dumb and sooty! Structures that float and slide over each other, expand and contract in vain peristaltic movements ! However, this poses an interesting idea, as to reinterpret the silence as a 'inter-pitch fill', a a meaningful musical element that occurs when all sounds cease. The musician not only plans the duration and rhythms of sounds but the rhythms and duration of silence, to compose with rests in mind. In this case, the idea reinterprets the silence not as a 'physical silence', but as a 'notation silence', not a literal silence but a figurative silence.
I don't think Feldman is trying to be evocative of anythign so crude as ocean waves, etc. He's exploring structures of memory, lingering correspondances and deflections, neural stimuli that arise and diffuse without settling into fixed ideas, contemplations that bring about a state of passive alertness, etc. The silence idea you describe can be heard in the compositions of Feldman's friend and contemporary Christian Wolff.
More typical late Feldman. I've been surveying his music for a while now, and reading some of the books about him (8th Street, MF Says, Music of..., etc). The thing that interests me about Feldman is that this is the first "classical" music I've heard where I have thought, "I could have composed that." Indeed, this music is inspiring me to write some things myself. I really appreciate his intuitive, non-systematic approach. It basically negates the whole question of "artistic value" (by admitting up front that none is expected or demanded). Concerning the whole "me too" aspect of the Feldman/Bunita Marcus relationship, it is indeed regrettable. Who's going to be outed next? Every time I listen to music, now, I always think, "Gosh, I wonder who this composer abused?" It's all becoming quite tiresome. I just wish that men would behave more honourably.
All abstract art regardless is the product of years/decades of "training" with "conventional" methods. Feldman studied piano since he was a toddler and learned from/with some of the most notable composers during his time.
In an Italian interview, Bunita Marcus accuses her mentor Morton Feldman of sexually molesting her and other women, wrecking her marriage and stealing her ideas. The two composers worked closely together for seven years until Feldman’s early death in 1987. Feldman’s work is widely performed, Marcus’s less so.
in your house and amateur? LIKE professional, its amazing
I love this! To the 4 people who thumbs-downed this performance of this piece, I'd say go listen to something that suits your musicality. Don't waste your time trying to listen to music of this caliber.
Feldman has found a kind of perfect timing to allow musical tones to simply be their beautiful selves and for us to experience them as deep mysterious entities.
The graphic is a Brice Marden drawing which I think is the case of another artist trying to integrate the beauties of the calligraphies of the East into Western art. Even if it can never be entirely successful he's made a good job of it.
@Jeff Sylvester Sorry, I don't know. But it doesn't sound very prepared to me.
@Jeff Sylvester This was written 2 years before his death and he was a well known composer. But the recording system made it possible for composers to get their work into distribution without premieres and concerts. I don't know the history of this piece. I have to believe if it used prepared piano it would have been mentioned by someone, for example Hamelin. I don't pretend to be knowledgeable about the nuts and bolts of music so I hardly know what Feldman means by the following, but here it is anyway.
"For me, rhythm doesn’t exist. I would rather use the term “rhythmicize.” I started to get interested in metre; for me, at the moment when you use it, it implies the question, “How do I get beyond the bar-lines?” I wrote down 4/4, left a little space, drew a bar-line and then I wrote over that bar-line. “The black hole of metre,” because some people shouldn’t come too close to the bar-line - there is a lot of music where the style tends to pull it across the bar-line.
For Bunita Marcus mainly consists of 3/8, 5/16 and 2/2 bars. Sometimes the 2/2 had musical importance, like at the end of the piece. Sometimes the 2/2 acts as quiet, either on the right or the left or in the middle of a 3/8 or a 5/16 bar, and I used the metre as a construction - not the rhythm - the metre and the time, the duration which something needs.
What finally interested me were the “development sections,” where I was using mixed-metre. It went 2/2, 3/4, 5/8 … so I used metre up to a certain point as a period of instability. I didn’t consider it a development section where I - I can’t find a better expression - developed the metre. Then, like every other composer, I thought, how much change is possible in this grid? And I said; accelerate it or slow it down. But I couldn’t make a definitive plan - that wouldn’t work. It can only work if you go along with the material and see how it is turning out."
@Jeff Sylvester You're welcome
Wonderful performance! I'm just discovering Feldman's works. I love how you can hear page-turning of the sheet music in this recording, it adds an extra intimacy, like you are sitting right next to the pianist.
Thanks ! I'm glad to share this intimacy.
I love the abrupt cut-off and piano lid close.
Lovely x
thanks
This is transcendental in the best possible way. The composition is very aware of the tempered piano, sostenuto, etc.; the performance even more so. Thank you.
beautiful. thank you very much!
Lovely
Well done. Thank You.
Feldman deserves to be as well known as Cage.
It doesn't matter if he's not so famous, his marvelous music exist, that's the main thing...
I think Morton's reputation is the equal of John's to those who appreciate this type of music and research. A fine performance here as well. Many thanks.
MORTON FELDMAN is a much more enjoyable composer than Cage, and I really enjoy the prepared piano works of Cage immensely. I don't know what ALAN HOVHANESS thought of Morton Feldman's music, but I do know......
No, he should have been kept in one.
@@DavidA-ps1qr - TH-cam allerted me to this awful comment !! Morty's Sonic Realm will soon engulf you..... !
what a tune :)
a great choice of a painting to parallel with this piece didierdada. Structures that float and slide over each other, expand and contract...
Bryce Marden "On Cold Mountain"
For Bunita Marcus was premiered by my friend Aki Takahashi, a japanese piano player, in 2010 she premiered my piano and electronics work Ashimakase, 10 minutes as an openinf to this wonderfull piece, it was an honor to open the concert for Feldman, one of my favourite composers, if any one is interested here is the link for Ashimakase soundcloud.com/artesonico/ashimakase
thanks !
so good...
nice work!
best
so you performed this yourself?fantastic, very well done!i've been thinking of playing this one, myselfi did a performance of palais de mari a few months ago, and it was very well received
Thanks ! Palais de mari is a splendor too...
time as metaphoer great alubum
spelling to see again! .................. ;-)
@@MegaCirse - Ars Aluminum
🙂
One has to ask after reading Feldman : much thought and reflexion but outside of the concert hall who will digest or take the time to listen to one hour , 90 minute and 2 hour pieces . I've forgotten Feldman's explanation on this point . His jewish jokes tell us a lot . He did what he wanted it was maybe a way too to carve out a space for himself alongside Cage, Carter, Babbit , Earle Brown and others . I d k .
MORTON FELDMAN is a much more enjoyable composer than Cage, and I really enjoy the prepared piano works of Cage immensely. I don't know what ALAN HOVHANESS thought of Morton Feldman's music, but I do know......
(repeated below!)
I love Feldman's masterclass transcripts . Poor kids what did they take away with all his joking . Jewish octaves ...hilarious !
What is the image used in this video?
May I ask about the painting, who is the painter?
Brice Marden
yes i searched and been able to know
thank you :)
It's a very good painter. Best wishes to you
Brice Marden image.
he alloweed any composer to compose acadfemic acceptable music
It is quite shallow, not at all evocative and just makes me think of the foam of soft waves under a sky dumb and sooty! Structures that float and slide over each other, expand and contract in vain peristaltic movements ! However, this poses an interesting idea, as to reinterpret the silence as a 'inter-pitch fill', a a meaningful musical element that occurs when all sounds cease. The musician not only plans the duration and rhythms of sounds but the rhythms and duration of silence, to compose with rests in mind. In this case, the idea reinterprets the silence not as a 'physical silence', but as a 'notation silence', not a literal silence but a figurative silence.
I don't think Feldman is trying to be evocative of anythign so crude as ocean waves, etc. He's exploring structures of memory, lingering correspondances and deflections, neural stimuli that arise and diffuse without settling into fixed ideas, contemplations that bring about a state of passive alertness, etc.
The silence idea you describe can be heard in the compositions of Feldman's friend and contemporary Christian Wolff.
Write on...
More typical late Feldman. I've been surveying his music for a while now, and reading some of the books about him (8th Street, MF Says, Music of..., etc). The thing that interests me about Feldman is that this is the first "classical" music I've heard where I have thought, "I could have composed that." Indeed, this music is inspiring me to write some things myself. I really appreciate his intuitive, non-systematic approach. It basically negates the whole question of "artistic value" (by admitting up front that none is expected or demanded).
Concerning the whole "me too" aspect of the Feldman/Bunita Marcus relationship, it is indeed regrettable. Who's going to be outed next? Every time I listen to music, now, I always think, "Gosh, I wonder who this composer abused?" It's all becoming quite tiresome. I just wish that men would behave more honourably.
Is Bunita Marcus a problem ? Feldman was often an unwanted name-dropper..... Nonetheless the music is fine.
Le piano semble mal accordé, dommage...
piano is out of tune!
The pianist may have chosen to play Feldman to get away with that more easily.
Morty loved to play pianos out of tune. No problem.
Fortunately
It's supposed to be.
He doesn't know how to play the piano ...
All abstract art regardless is the product of years/decades of "training" with "conventional" methods. Feldman studied piano since he was a toddler and learned from/with some of the most notable composers during his time.
Feldman is tentative and, hence, gutless.
hence?
In an Italian interview, Bunita Marcus accuses her mentor Morton Feldman of sexually molesting her and other women, wrecking her marriage and stealing her ideas. The two composers worked closely together for seven years until Feldman’s early death in 1987. Feldman’s work is widely performed, Marcus’s less so.
Brenda Vananna ah
yikes
We bang her against the sink !!!