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. 
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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