MORTON FELDMAN : All Piano (John Tilbury) 4CD BOX-SET (1999) Two Version | APE + FLAC (image+.tracks+.cue), lossless

Since about 1980, pianist John Tilbury has been a member of what is arguably the finest improvising ensemble in the history of free music, AMM. One of the clearest elements he brings to AMM's music is a consistent reference in his playing to the work of Morton Feldman. Unbeknownst in all likelihood to many fans of that ensemble, Tilbury had been cultivating a reputation as the premier interpreter of Feldman's music and the results are magnificently borne out in this four-CD set. All Piano consists of all the music written for solo piano by this composer and the album is a major event in beauty, breadth, and execution. Disc one contains 21 short pieces written from 1950-1964, often showing Feldman's tangential relationship to the predominant movement of the time, serialism, while always limning a idiosyncratically Feldman-esque space, one of silences and extreme delicacy where quiet counts as much as sound, indeed is considered as viable as sound. The second disc has two longer, later works: Piano 77 and his last piece for solo piano, Palais de Mari, both performed exquisitely. But the final two discs, with one composition apiece, are what take this music into realms of beauty rarely encountered. Both Triadic Memories and For Bunita Marcus are works of astounding depth, expression, and intelligence, and Tilbury gives them readings that are unmatched. His touch is so in tune with Feldman's vision that it becomes difficult to imagine the pieces played by anyone else. The combined 156 minutes of the last two discs slip by in an apparent instant. London Hall is a small label and perhaps tough to locate, and All Piano is a limited edition (though no print amount is indicated), but anyone with a professed love for Feldman cannot afford not to own this set. A staggering achievement. Brian Olewnick
MORTON FELDMAN (1926-1987)
Early Piano 1950-64    
1-1.   Piano Piece (To Philip Guston)    3:59
1-4.    Three Pieces For Piano    
1-5.    Extensions 3    6:20
1-6.    Intermission 6 For One Or Two Pianos    3:21
1-7.    Intersection 2    7:59
1-11.    Last Pieces    
1-12.  Piano Piece 1956 A (For Cynthia)    1:52
1-13.  Piano Piece 1956 B    1:58
1-14.  Intermission 5    4:10
1-15.  Piano Piece 1955    1:24
1-16.  Piano Piece 1964    7:07
1-18.  Two Intermissions    
1-19.     Vertical Thoughts 4    1:52
1-20.     Intersection 3    2:44
1-21.     Piano Piece 1952    3:35
2-1.    Piano 77    28:37
2-2.    Palais De Mari    23:58
3-2.    Triadic Memories    1:05:00
4-1.      For Bunita Marcus    1:17:01
Piano – John Tilbury

MORTON FELDMAN : Morton Feldman Piano (Philip Thomas) 5CD BOX-SET (2019) FLAC (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1-4.   Last Pieces   (23:30)
1-5.   Piano  27:18
1-6.   Palais De Mari    22:41
2-1.   Untitled Piano Piece    1:00
2-5.   Illusions    (5:37)
2-8.   Three Dances    (8:19)
2-13.   Nature Pieces    (11:30)
2-14.   Variations    6:57
2-16.   Two Intermissions    (2:58)
2-17.   Intermission 3     (1:53)
2-18.   Intermission 4     (2:00)
2-19.   Intersection 2     (10:45)
2-22.   Three Pieces For Piano    (5:37)
2-23.   Piano Piece 1955    1:43
2-24.   Piano Piece 1956 A    2:49
2-25.   Piano Piece 1956 B    2:06
2-26.  Intermission 6 (First Version)    7:51
2-27.   Intermission 5  (3:11)
3-1.   Intermission 6 (Second Version)    4:42
3-2.   Extensions 3    6:27
3-4.   Music For The Film 'Sculpture By Lipton' 8:28
Transcription By [Transcribed By] – Philip Thomas 
3-5.   Piano Piece 1952    8:06
3-6.   Intersection 3    3:56
3-7.   Piano Piece    6:32
3-8.   Vertical Thoughts 4    1:51
3-9.   Figure Of Memory [For Merle Marsicano]    4:59
3-10.  Piano Piece (To Philip Guston)    4:42
3-11.  Intermission 6 (Third Version)    11:07
3-12.  Triadic Memories (Start)    16:44
4-1.   Triadic Memories (Continued)    1:14:13
5-1.   For Bunita Marcus    1:09:26
Credits :
Painting [All Paintings] – David Ainley 
Piano, Liner Notes – Philip Thomas 

MORTON FELDMAN : Complete Works For Two Pianists (Kristine Scholz · Mats Persson) (2002) APE (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1.    Vertical Thoughts 1 For Two Pianos (1963)    6:47
2.    Intermission 6 For One Or Two Pianos (1953)    2:07
3.    Projection 3 For Two Pianos (1951)    2:03
4.    Intermission 6 For One Or Two Pianos (1953)    4:14
5.    Two Pieces For Two Pianos (1954)    1:56
6.    Piano (Three Hands) (1957)    5:43
7.    Intermission 6 For One Or Two Pianos (1953)    2:25
8.    Piano Four Hands (1958)    6:54
9.    Work For Two Pianists (1958)    5:56
10.    Ixion - For Two Pianos (1958)    7:30
11.    Intermission 6 For One Or Two Pianos (1953)    2:29
12.    Two Pianos (1957)    8:41
Piano – Kristine Scholz, Mats Persson 
Notas :
Housed in a CD-case-sized hardcover book (72 pages), containing an essay in Swedish and English on Morton Feldman and painting, "To Be In The Silence".
The majority of these pieces are written in low dynamics. Therefore a lower volume setting better captures the composer's intention

MORTON FELDMAN : Two Pianos And Other Pieces, 1953-1969 (John Tilbury · Philip Thomas) 2CD-SET (2014) FLAC (tracks+.cue), lossless

 MORTON FELDMAN (1926-1987)
1-1.    Two Pianos 10:00
Piano – John Tilbury, Philip Thomas 
1-2.    Four Instruments 11:58
Cello – Anton Lukoszevieze
Chimes – Rodrigo Constanzo
Piano – John Tilbury
Violin – Mira Benjamin
1-3.    Vertical Thoughts 1 7:58
Piano – John Tilbury, Philip Thomas 
1-4.    Between Categories 11:44
Cello – Anton Lukoszevieze, Seth Woods
Chimes – Rodrigo Constanzo, Taneli Clarke
Piano – John Tilbury, Philip Thomas 
Violin – Linda Jankowska, Mira Benjamin
1-5.    Piece For Four Pianos 14:37
Piano – Catherine Laws, John Tilbury, Mark Knoop, Philip Thomas 
1-6.    Piano Four Hands 7:43
Piano – John Tilbury, Philip Thomas 
2-1.    Intermission 6 3:05
Piano – John Tilbury, Philip Thomas 
2-2.    De Kooning 12:51
Cello – Anton Lukoszevieze
French Horn [Horn] – Naomi Atherton
Percussion – Taneli Clarke
Piano – Philip Thomas 
Violin – Mira Benjamin
2-4.    Two Pieces For Three Pianos 17:56
Piano – Catherine Laws, John Tilbury, Philip Thomas 
2-5.    Piano Three Hands 11:06
Piano – John Tilbury, Philip Thomas 
2-6.    False Relationships And The Extended Ending 16:25
Cello – Anton Lukoszevieze
Chimes – Rodrigo Constanzo
Piano – Catherine Laws, John Tilbury, Philip Thomas 
Trombone – Barrie Webb 
Violin – Mira Benjamin
2-7.    Two Pianos (Second Version) 9:23
Piano – John Tilbury, Philip Thomas 

MORTON FELDMAN : For Bunita Marcus (Hildegard Kleeb) (1994) Hat NOW Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

This piano work, composed near the end of Feldman's life, is perhaps his signature composition for the instrument, and reveals his truly original method of opening up time and space by restricting the movement of sound within them. As Feldman grew older and his compositions became longer (for example, the 4 CD-long "For Philip Guston"), his obsession with the space between sounds (how long it took to hear one before another was introduced) became a driving force in his work. It moved him to constrain the palette he wrote from, in this case to contain only two pitches (C sharp and D), and within these two pitches, an equally restrictive and systematic sequence of meters (alternating 3/8, 5/16). Add to this his direction to the pianist to push the keys just enough to make the slightest sound (ppp), and directions to the listener to playback at very low volume, and you have a very small world to peer into.

The paradox is what emerges from this tiny space, played out over an hour. Time and space drop away. Inside the intervals where notes are played, and chords are built in miniature, is the role that silence itself plays, where it becomes the biggest presence in the work. Pianist Hildegard Kleeb understands these methods instinctually; there isn't so much as an extra nuance here. Her ability to exercise the tension and restraint in performing such a lengthy work creates for the listener an endless expanse. For Bunita Marcus reveals Feldman thinking not only of musical forms, but also of memory forms, in which memory is formed as a relationship, not of the fragment to the whole, but rather, from fragment remembered as fragment to the next, unto the entire work. While Feldman would make time "disappear" into his works, his intent here is not so much putting weight on time itself, but on time as a visual analogy of structure and duration. With For Bunita Marcus, he has created a memory system in which lapses are freely accepted, because resolution doesn't happen within a structured piece of music, but in the memory of silence itself. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
MORTON FELDMAN (1926-1987)
1-3.    For Bunita Marcus (1985)    (1:11:41)
Piano – Hildegard Kleeb

MORTON FELDMAN : Works for Piano (Marianne Schroeder) (1990) hat NOW Series | FLAC (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1.    Intermission 5 (1952)    3:54
2.    Piano Piece (To Philip Guston) (1963)    3:05
3.    Vertical Thoughts 4 (1963)    1:41
4.    Piano (1977)    29:17
5.    Palais De Mari (For Francesco Clemente) (1986)    24:42
Piano – Marianne Schroeder

MORTON FELDMAN : Works For Piano 2 (Steffen Schleiermacher) (1994) hat NOW Series | FLAC (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1.    Intermission V    4:12
2.    Piano Piece    8:47
3.    Two Intermissions    3:04
4.    Last Pieces    12:30
5.    Intermission VI    9:09
6.    Five Pianos 35:58
Piano – Isabel Mundry, Kristine Scholz, Mats Persson, Nils Vigeland, Steffen Schleiermacher
Piano – Steffen Schleiermacher

MORTON FELDMAN : Triadic Memories (Sabine Liebner) 2xCD (2005) FLAC (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1-1.    Triadic Memories    1:07:41
2-1.    Triadic Memories    56:28
Piano – Sabine Liebner

MORTON FELDMAN : Triadic Memories (Aki Takahashi) (1989) FLAC (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1.    Triadic Memories    1:01:18
Piano – Aki Takahashi

MORTON FELDMAN : The Viola in My Life (Marek Konstantynowicz · Cikada Ensemble · Norwegian Radio Orchestra · Christian Eggen) (2001) FLAC (tracks+.cue), lossless

After a long period of working with indeterminacy and graphic notation, Morton Feldman fixed every parameter of “The Viola in My Life” (written in 1970/71) – notes, timing, duration, dynamics – and still the feeling conveyed is of an exquisite tenuousness, as if the viola is a visitor to the composer’s musical universe, where sounds seem to be discovered in the quiet moment of their playing: “My intention was to think of melody and motivic fragments – somewhat in the way Robert Rauschenberg uses photographs in his painting – and superimpose this on a static sound world more characteristic of my music.”
‘Painting with sounds’ is central to Feldman’s music; he was a composer at least as close to the abstract painters as to musical contemporaries. ecm
MORTON FELDMAN (1926-1987)
1.    The Viola In My Life I    9:11
2.    The Viola In My Life II    10:18
3.    The Viola In My Life III    5:07
4.    The Viola In My Life IV    14:31
Credits :
Marek Konstantynowicz - Viola
Cikada Ensemble
Kersti Walldén - Flute
Terje Lerstad - Clarinet
Bjørn Rabben - Percussion
Kenneth Karlsson - Piano, Celesta
Odd Hannisdal - Violin
Morten Hannisdal -Violoncello
Norwegian Radio - Orchestra
Christian Eggen - Conductor

MORTON FELDMAN : Piano and Orchestra · Flute and Orchestra · Oboe and Orchestra · Cello and Orchestra (1997) 2CD-SET | Hans Zender Edition – 11 Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1-1.    Flute And Orchestra (1977/78)    32:35
1-2.    Cello And Orchestra (1972)    18:52
2-1.    Oboe And Orchestra (1976)    21:20
2-2.    Piano And Orchestra (1975)    26:47
Credits :
Conductor – Hans Zender
Flute – Roswitha Staege (tracks: 1-1)
Oboe – Armin Aussem (tracks: 2-1)
Orchestra – Rundfunk-Sinfonieorchester Saarbrücken
Piano – Roger Woodward (tracks: 2-2)
Violoncello – Siegfried Palm (tracks: 1-2)

MORTON FELDMAN : For Franz Kline · For Frank O'Hara · De Kooning · Piano Piece To Philip Guston (Ensemble Avantgarde) (1996) FLAC (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1.    For Franz Kline (1962) 5:04
French Horn – Johannes Winkler
Soprano Vocals – Kerstin Klein
2-4.     The O'Hara Songs (1962)    
Baritone Vocals – Markus Köhler
Viola – Ivo Bauer
5.    De Kooning (1963) 14:34
French Horn – Jochen Pleß
6.    Piano Piece To Philip Guston (1963)    3:11
7.    Four Instruments (1965)    12:05
8.    For Frank O'Hara (1973) 15:49
Clarinet – Matthias Kreher
Conductor – Roland Kluttig
Flute – Ralf Mielke
Percussion – Winfried Nitzsche
Credits :
Ensemble Avantgarde 
Cello – Matthias Moosdorf (tracks: 1, 2, 5, 7, 8)
Percussion – Stefan Stopora (tracks: 1, 3, 5, 7, 8)
Piano, Celesta – Steffen Schleiermacher (tracks: 1, 3, 5 to 8)
Violin – Andreas Seidel (tracks: 1, 2, 5, 7, 8)

MORTON FELDMAN : For Frank O'Hara · Bass Clarinet and Percussion · De Kooning · Instruments 1 (New Millennium Ensemble) (2000) Two Version | APE (image+.tracks+.cue), losslessss

MORTON FELDMAN (1926-1987)
1.    For Frank O'Hara    14:36
2.    Bass Clarinet And Percussion    17:06
3.    De Kooning    11:08
4.    Instruments I    16:57
Credits :
Cello – Gregory Hesselink
Clarinet – Marianne Gythfeldt
Conductor – Brad Lubman
Ensemble – New Millennium Ensemble
Flute – Tara Helen O'Connor
Horn – Daniel Grabois
Oboe – Jacqueline Leclair
Percussion – John Ferrari, Tom Kolor
Piano, Celesta – Margaret Kampmeier
Trombone – Benjamin Herrington
Violin – Sunghae Anna Lim

MORTON FELDMAN : Durations I-V · Coptic Light (Ensemble Avantgarde · Deutsches Symphonie-Orchester Berlin · Michael Morgan) (1996) FLAC (tracks+.cue), lossless

Performed by the Ensemble Avantgarde, and the Deutsches Symphonie-Orchester Berlin conducted by Michael Morgan, this is a very sensitive and fine performance of the new music classic "Durations I-V." In these five innovative pieces, the composer gave over control of the duration parameter entirely to the performers (there are only notes without stems, therefore no divided rhythm) -- the pulse (ictus) is slow, all is quiet, the tones have a minimum of attack. Thus, each performance is unique, and creates its own timbre combinations and exquisite beauty of a transparent sound texture. By contrast, "Coptic Light" for orchestra is of an extremely dense, polyrhythmic texture that shifts slowly by rhythmic staggering (phase shifting) within orchestral groups, creating the unique effect of a shimmering of sound analogous to the shimmering of light on water. The specific visual analog in Feldman's mind was the fine interweaving of ancient Coptic textiles he had seen in a museum. He was also attempting to create the effect of a piano's sustaining pedal for the orchestra, which allows tones to continue resonating and to blend together and overlap. "Blue" Gene Tyranny
MORTON FELDMAN (1926-1987)
Durations I-V    
1.    Durations I For Alto Flute, Piano, Violin, Violoncello    10:29
2.    Durations II For Violoncello And Piano    4:10
3-6.    Durations III For Violin, Tuba And Piano    (10:47)
7.    Durations IV For Violin, Violoncello And Vibraphon    3:29
8.    Durations V, For Violin, Violoncello, Horn, Vibraphon, Harp And Piano/Celesta    8:58
9.    Coptic Light For Orchestra    23:51
Credits :
Ensemble – Ensemble Avantgarde (tracks: 1 to 8)
Orchestra – Deutsches Symphonie-Orchester Berlin (tracks: 9)
Conductor – Michael Morgan (tracks: 9)

MORTON FELDMAN : The Ecstasy of the Moment (The Barton Workshop) 3CD-SET (1997) Two Version | FLAC (image+.tracks+.cue), lossless

On three discs, Fulkerson and co. manage to touch upon a portion of the three periods of Feldman's writing career. What is espacially significant are the numerous first recordings of both individual pieces (Instruments III, Voice and instruments II) and sets of like-titled pieces (the five-part Projection series from the '50's and the equally-parted Vertical Thoughts cycle from the '60's, as well as another cycle of Durations 1-5). As John Cage spoke of his friend in his book "Silence": Feldman's music does not evolve but continue. That phrase could not be more apropo here. The journey starts with the monophonic setting of 1947's "Only" (to me the only (no pun intended) weak performance on this disc; the Joan LaBarbara version is superior), continues to the graph pieces of Projections 1-5 and Intersections 2-4 (where numbers are placed onto graph paper to indicate pitch events), moves into the free duration pieces (where pitches are defined but their durations are left to the performer's discression) of the late '50's and early '60's, and closes with a handful of pieces dating from 1972-81 that presage the dark atmosphere of the large scale works that Feldman would explore in the last years of his life. A daring undertaking all around and I look forward to Fulkerson's next installment. Sparky P.
MORTON FELDMAN (1926-1987)
Tracklist :
The Barton Workshop :
John Anderson (clarinets), Krijn van Arnhem (bassoon), Nina Hitz (cello), Frank Denyer (piano), James Fulkerson (trombone), Marieke Keser (violin), Tobias Liebezeit (percussion), Jos Tieman (bass), Manuel Visser (viola), Jos Zwaanenburg (flutes).

MORTON FELDMAN : Orchestra (Martha Cluver · Deutsches Symphonie-Orchester Berlin · Brad Lubman) (2011) Feldman Edition – 11 Series | FLAC (tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1.    Intersection I 13:22
Adapted By [For Orchestra] – Samuel Clay Birmaher
2.    Structures    7:40
3.    On Time And The Instrumental Factor    8:33
4.    Voice And Instruments 16:28
Soprano Vocals – Martha Cluver
5.    Orchestra    17:40
Credits :
Conductor – Brad Lubman
Orchestra – Deutsches Symphonie-Orchester Berlin

MORTON FELDMAN : Neither (Frankfurt Radio Symphony Orchestra · Sarah Leonard · Zoltán Peskó) (1998) Two Version | APE + FLAC (image+.tracks+.cue), lossless

This unusual, highly emotional fifty-minute work, performed here by soprano Sarah Leonard and the Radio Sinfonie Orchester Frankfurt conducted by Zoltan Pesko, with text by Samuel Beckett, is an "opera" perhaps only in the New Narrative Opera sense--the delivering of messages or meaningful images through words and music without the standard plot forms, dramatic contrasts, even casts of characters of traditional European-based opera. The soprano voice is obsessed with punctuated single tones, or, by contrast, bizarre melisma. Repeated, slowly phase-shifted pulses of astonishing harmonic color and melodic pattern are the basic gesture throughout the work--far more eerie and foreboding, with an interior tension not normal for, which is to say expected of, Feldman--"from impenetrable self to impenetrable unself by way of neither ... as between two lit refuges whose doors once neared gently close, once away turned from gently part again." This piece is an intense evocation of existentialist awe, the infinitely extended discovery of the present moment, the awareness of the impossibility and irrelevance of final definition. Sarah Leonard delivers a powerful and richly modulated realization with a great range of emotional energy and remarkable technique."Blue" Gene Tyranny
MORTON FELDMAN (1926-1987)
1.  Neither    50:26
Credits :
Conductor – Zoltán Peskó
Orchestra – Radio-Sinfonie-Orchester Frankfurt
Soprano Vocals – Sarah Leonard
Words By – Samuel Beckett

MORTON FELDMAN : Piano and Orchestra · Palais de Mari · Piano (Markus Hinterhäuser · RSO Frankfurt · Arturo Tamayo) (2001) Two Version | APE (image+.tracks+.cue), lossless

MORTON FELDMAN (1926-1987)
1.    Piano And Orchestra (1975)    19:13
2.    Palais De Mari, For Solo Piano (1986)    27:10
3.    Piano, For Solo Piano (1977)    29:41
Credits :
Conductor – Arturo Tamayo (tracks: 1)
Orchestra – RSO Frankfurt (tracks: 1)
Painting [Cover] – Rudi Stanzel
Piano – Markus Hinterhäuser

MORTON FELDMAN : Three Voices (For Joan La Barbara) (2019) Two Version | APE + FLAC (image+.tracks+.cue), lossless

Three Voices for Joan La Barbara is something of an avant-garde love fest. The poet Frank O'Hara wrote a poem called "Wind," which he dedicated to composer Morton Feldman. Feldman in turn wrote Three Voices, based on the text of "Wind," which he dedicated to vocalist/composer Joan La Barbara, who performs the work in this recording. The end result of all this mutual goodwill is a riveting piece of music. The three voices in question perform a cappella, beginning with a wordless vocal pattern that gradually articulates itself into fragments of the O'Hara poem. Like most of Morton Feldman's mature work, Three Voices for Joan La Barbara rewards the attentive listener with an astonishing range of rhythms, textures, and emotions.

Performed by the artist for whom it was written and produced to New Albion's meticulous standards, this can safely be regarded as the definitive record of one of late 20th century composition's small gems. Peter Nappi
MORTON FELDMAN (1926-1987)
1-10.        Three Voices    (49:48)
Credits :
Lyrics By – Frank O'Hara
Voice – Joan La Barbara
Notas :
"Three Voices" composed for Joan La Barbara and completed April 15, 1982, uses delicate repeating patterns of precise pitches and rhythms and is indicated to be sung very softly (ppp). It is a setting of fragments from the poem, "Wind", by Frank O'Hara (dedicated to Morton Feldman). The composition is sung in vocalise until just before the midpoint of the piece when the text appears. It was first performed in March 1983 at the California Institute of the Arts in Valencia.

MORTON FELDMAN : Atlantis (Radio-Sinfonie-Orchester Frankfurt · Lucas Vis) (2000) Two Version | APE + FLAC (image+.tracks+.cue), lossless

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. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
MORTON FELDMAN (1926-1987)
1.    String Quartet & Orchestra 25:50
Strings – Pellegrini-Quartet
2.    Oboe & Orchestra 16:38
Oboe – Han de Vries
3.    Atlantis    11:31]    7:48
Credits :
Conductor – Lucas Vis
Orchestra – Radio-Sinfonie-Orchester Frankfurt