The three orchestral works on this CD -- "String Quartet and Orchestra" (1973), "Oboe and Orchestra" (1976), and "Atlantis" (1959) -- all reflect Feldman's ongoing study of texture, color, and cluster within a larger context than his chamber or solo pieces. They provide evidence en masse that Feldman's method -- as developed from his early graphic notation style to his composition by intuitive assemblage in the middle years to his absolute control over every timbre (while granting the performer and intuitive energy of ...
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The three orchestral works on this CD -- "String Quartet and Orchestra" (1973), "Oboe and Orchestra" (1976), and "Atlantis" (1959) -- all reflect Feldman's ongoing study of texture, color, and cluster within a larger context than his chamber or solo pieces. They provide evidence en masse that Feldman's method -- as developed from his early graphic notation style to his composition by intuitive assemblage in the middle years to his absolute control over every timbre (while granting the performer and intuitive energy of interpretation) in his late works -- worked in any compositional or performance context. "String Quartet and Orchestra" uses Feldman's instinctual use of repetition idiomatically with different shadings and clusters. The overtonal architecture constructed by the quartet is responded to fragmentally by the orchestra. Very gradually the palette expands and the architecture grows seemingly exponentially, even though only three more clustered tones are added. The effect is one of tension created by ambiguity. "Oboe and Orchestra" from three years later pits the tonal structure of the soloist in painterly opposition to that of the orchestra; colors not only contrast, but also clash in different spaces until they both give way and meld into a new schemata. Feldman created a dramatic element that allowed for the soloist's phraseology to reflect the score from his own sense of tone and breath, whereas the orchestra followed the composer's notion of pitch to the letter. The long drones accent the small dissonances and create yet one more sonic possibility for tones to come together in order to form new ones. "Atlantis" from the early period is included here, presumably because it is the earliest of Feldman's large-scale works. It has a fluttery nature, with scurrilous notes and clusters running over the top of the score while the notion of an "orchestra" (most of the work is played by woodwinds, a piano, and strings) is seldom invoked. But it does mark a rediscovery of form over the decentering, deconstructive work that he, John Cage, Earle Brown, and Christian Wolff did in the late '40s and early '50s (with form as an extension of instinct and energy, opening itself to random elements rather than giving way to them). It is much faster than his later work, but dynamically as subtle as anything he ever wrote. Along with "Coptic Light," it is a joy to hear Feldman's larger-scale works finally being performed and recorded. Hat has done its typically excellent job in its selection of performers and in its manner of recording, giving Feldman's work state-of-the-art treatment and, for now at least, a definitive recording of three obscure works by an under-celebrated 20th century master. ~ Thom Jurek, Rovi
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Add this copy of Atlantis: Radio-Sinfonie-Orchester, Frankfurt to cart. $21.97, very good condition, Sold by 86 Books rated 5.0 out of 5 stars, ships from Maplewood, NJ, UNITED STATES, published 2000 by hatHUT.
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Seller's Description:
Very Good. Case shows light shelf-wear (including a partial crease on the right edge on the backside); disc is mint/near mint; because we care that your order arrives in the condition stated, we have additionally sealed the case in bubblewrap for added protection during shipment (that can easily be removed upon receipt of your order)
Add this copy of Atlantis: Radio-Sinfonie-Orchester, Frankfurt to cart. $44.00, like new condition, Sold by Streetlight_Records rated 5.0 out of 5 stars, ships from Santa Cruz, CA, UNITED STATES, published 2000 by hatHUT.
