MORTON FELDMAN’S FOR SAMUEL BECKETT: THE SEMIOTICS OF MUSICAL TIME AND I MEET YOU. I REMEMBER YOU. (AN ORIGINAL COMPOSITION FOR VIOLIN AND CHAMBER ORCHESTRA) by David Gerard Matthews, Jr. B.M., Oberlin College Conservatory of Music, 1999 M.A., University of Pittsburgh, 2002 Submitted to the Graduate Faculty of.
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Morton Feldman - An Event: A Concert Programme by The Barton Workshop. Programme Notes by James Fulkerson. The Barton Workshop play Morton Feldman Morton Feldman - An Event The Viola in My Life, Part 1 (1970) Solo Viola, Flute, Percussion, Piano, Violin, Cello The Viola in My Life, Part 2 (1970) Solo Viola, Flute, Clarinet, Percussion, Celeste, Violin, Cello The Viola in My Life, Part 3 (1970.
Morton Feldman Says. It is often thought that John Cage was the most significant composer to loose our Western ears from traditional modes of listening. However, it was Morton Feldman who, through pieces lasting anywhere between one and a half minutes and one and a half hours, first revealed a delight in the momentary presence of a single sound.
Give My Regards to Eighth Street is an authoritative collection of Feldman's writings, culled from published articles, program notes, LP liners, lectures, interviews and unpublished writings. It is one of those rare books from which anyone can draw inspiration, no matter what the vocation or discipline.
You really don't know how MORTON FELDMAN composes. WELL, I don't know how WALTER ZIMMERMANN lives and spends his time, and you don't look to me like an enigmatic young man. Well, when I first started to work, that was my fault. Now it's becoming my virtue. Haha, as a man gets older, his SINS become charming.
Morton Feldman and Iannis Xenakis In conversation Edited by Vincent Gasseling and Michael Nieuwenhuizen The present text is an edited transcription of a conversation between Morton Feldman and lannis Xenakis which took place on Friday, July 4, 1986 at De Kloveniersdoelen, Middelburg, The Netherlands. The conversation was.
Morton Feldman’s late works are generally very quiet, very slow and very long. Crippled Symmetry (1983) and For Samuel Beckett (1987) share these attributes, yet remain strikingly different pieces. Crippled Symmetry takes its title and its structural methodology from Feldman’s interest in Near and Middle Eastern rug-making, where the.