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Artist: FELDMAN, MORTON
Title: For Bunita Marcus
Format: Double LP
Label: God
Country: Austria
Price: $37.00
2014 release. Lenio Liatsou performs Morton Feldmans composition "For Bunita Marcus". In the 1980s, Morton Feldman composed two large-sized pieces for his favorite instrument, the piano. Both pieces, "Triadic Memories" (1981) and "For Bunita Marcus" (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to. "Triadic Memories" demonstrates the complexity and tonal opulence of Feldmans pattern compositions from 1977 through 1983, whereas "For Bunita Marcus" shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described "For Bunita Marcus" as a piece in which he "seriously grappled with the idea of meter. I was very interested in this whole problem of meter and the bar line. I was so interested that I started to write a piece in which I took meter very seriously. I saw that nobody knew how to notate. Sometimes, Stravinsky! In my notation Im close to Stravinsky; that is, meter and rhythm actually being simultaneous and also being more grid-oriented, a balance between rhythm and meter. For Bunita Marcus is essentially made up of just three-eight, five-sixteen and two-two. Sometimes the two-two would have musical content, which was at the end of the piece. Sometimes the two-two acted as silences, either on the left side or the right side or in the middle of the three-eight and the five-sixteen, and I was using meter as a construction, not rhythm but meter and the time, the length of what is going on." - Excerpt from liner notes by Sebastian Claren.

Artist: FELDMAN, MORTON
Title: Clarinet and String Quartet
Format: CD
Label: Saltern
Country: USA
Price: $16.00
"Saltern returns with a gorgeous new recording of Morton Feldmans Clarinet and String Quartet (1983) performed by Anthony Burr(clarinet), Graeme Jennings (violin), Gascia Ouzounian (violin), Che-Yen Chen (viola) and Charles Curtis (cello). This performance highlights Feldmans interest in notation by treating the slight differences in intonation and rhythm literally and specifically. Recorded by Tom Erbein the living room of a friend of the musicians. Edition of 400. Housed in jackets printed at Stoughton and featuring a cover image by artist Raha Raissnia. From Anthony Burr and Charles Curtiss liner notes: "Near the end of the final Contrapunctus in The Art Of Fugue, Bach introduces a new four-note countersubject which, in the German note names, spells B, A, C, H (in our note names, B-flat, A, C, B-natural). To those within Bachs circle, and probably to any attentive musician of his day, the notes thus sounded would have unmistakably articulated Bachs name -- an embedded signature, not just a melodic motif but a salutation in musical code. Morton Feldman begins Clarinet and String Quartet with the same four notes in reverse order -- H, C, A, B, if you will. These four notes are repeated over and over by the clarinet and the cello simultaneously, the two instruments in minutely different rhythms and phrasings. These notes, however, are given anomalous names: in the cello, B, D-double flat, G-double sharp, A-sharp; and in the clarinet, C-flat, C, A, B-flat. Whether or not Feldman placed the retrograde B, A, C, H motif intentionally, it fits seamlessly into the pitch world of his late music, in which chromatic clusters (often four notes) are obsessively restated in different permutations, like anagrams." - Saltern.

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