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Mostrando postagens com marcador New Albion. Mostrar todas as postagens

21.11.25

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 : Rothko Chapel · Why Patterns? (1994) FLAC (tracks+.cue), lossless

This CD presents two of Morton Feldman's most fascinating compositions, and both are given fine performances. In its tableau structure and austere treatment of melody, harmony, and color, Rothko Chapel is a musical analog of the paintings of Mark Rothko, displayed in the Houston chapel where this piece was premiered. Feldman's sonorities are soft and frequently recede into silences that are carefully spaced throughout. The music is often sparse, especially in the unaccompanied phrases for the viola and the isolated passages in the percussion. Yet when Feldman's harmony is at its densest, as in the choir's sustained block chords, the effect is mysteriously shimmering and not at all harsh. Somber and reflective, Rothko Chapel is best heard in a quiet room without distractions. Why Patterns? is less dependent on stillness for appreciation, though the intricately woven lines of flute, piano, and glockenspiel may induce a similarly contemplative feeling. The independence of the parts leads not to chaos, but instead creates constantly shifting textures and relationships, freely recycling the patterns without recourse to an externally imposed method. Feldman's intuitive approach to pitch structures and linear flow lets the music pursue its course naturally, without the mannered gestures of serialism or the accidents of improvisation. Blair Sanderson 
MORTON FELDMAN (1926-1987)
1-5.    Rothko Chapel    (24:01)
6.    Why Patterns? (29:26)
Flute – Dorothy Stone
Glockenspiel – Arthur Jarvinen
Performer – The California EAR Unit*
Piano – Gaylord Mowrey*
Producer – Foster Reed, Joan La Barbara
Producer [Assisting] – Mike Wilpizeski, Phyllis Oyama, Tricia Skennion

All Credits :

16.1.23

ANTHONY BRAXTON - 19 [Solo] Compositions, 1988 (1989) FLAC (tracks+.cue), lossless

These live concerts feature Anthony Braxton on 19 selections (16 originals plus "You Go To My Head," "'Round Midnight" and "Half Nelson"), each of which explore a different idea or mood. Some of the one or two-word descriptions are "ballade," "relationship," "triplet diatonic," "Multiphonic," and "quarter." Although free in spots, Braxton's performances also have their own logic and are quite concise with the longest piece ("Half Nelson") clocking in at just 5:06. Scott Yanow
Tracklist :
1    138A (Ballade)    2:57
Composed By – Anthony Braxton
2    106D (Relationship)    3:25
Composed By – Anthony Braxton
3    118F (Buzz Logic)    2:46
Composed By – Anthony Braxton
4    138B (African Violets)    2:26
Composed By – Anthony Braxton
5    77G (Whole)    3:14
Composed By – Anthony Braxton
6    118A (Intervallic)    3:17
Composed By – Anthony Braxton
7    138C (Long)    2:25
Composed By – Anthony Braxton
8    106J (Pointillistic)    2:40
Composed By – Anthony Braxton
9    77C (Triplet Diatonic)    3:05
Composed By – Anthony Braxton
10    26F (104/M Kelvin)    1:50
Composed By – Anthony Braxton
11    You Go To My Head 4:17
Written-By – Gillespie, Coots
12    119I (+99E) (Medium Dance)    1:47
Composed By – Anthony Braxton
13    119G (Multiphonic)    1:58
Composed By – Anthony Braxton
14    Round 'Bout Midnight 2:44
Written-By – Monk
15    99B (Line)    3:47
Composed By – Anthony Braxton
16    106A (Quarter)    2:56
Composed By – Anthony Braxton
17    138D (Ballade)    2:17
Composed By – Anthony Braxton
18    Half Nelson 5:10
Written-By – Miles Davis
19    106C (Triadic Spiral)    3:04
Composed By – Anthony Braxton
Credits :
Alto Saxophone – Anthony Braxton

14.1.23

ANTHONY BRAXTON — Composition No. 165 [for 18 Instruments] (1992) FLAC (tracks), lossless

The liner notes for this piece are written by Braxton and contain the amusing, instructive story about Ben and Johnathan who stare at clouds and attempt to imagine the music made from them. Wonderful acoustic music that winds its way through many textures and energy levels, not reducible to a simple description. Enjoyable, as well as music of a grand vision. "Blue" Gene Tyranny
Tracklist :
1     Composition No. 165 49:35
Anthony Braxton    
Credits :
Alto Saxophone, Clarinet – Graham Kessler
Alto Saxophone, Clarinet, Saxophone [Slide] – Paul Martin Zonn
Baritone Saxophone, Bass Clarinet – Mark Barone
Bass – Adam Davis
Composed By, Conductor, Liner Notes – Anthony Braxton
Guitar – Mark Zanter
Percussion – Justin Kramer, Tom Sherwood
Piano – Tom Paynter
Synthesizer – Drew Krause
Tenor Saxophone, Bassoon, Clarinet – Kevin Engel
Tenor Saxophone, Flute – Andrew Mitroff
Trombone – Douglass Farwell, Erik Lund, Keith Moore
Trumpet – Jeff Helgesen, Judd G. Danby, Thomas Tait
Tuba – Jesse Seifert-Gram

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...