Short and new experimental sound that I hope you will enjoy.

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8/8/2018

Maria Callas sings Puccini: Tosca - ‘Vissi d'Arte’ at Covent Garden 1964

All That Remain (mmiv)

you will rise and fall many times

Daniel Avery’s Love + Light

Scenic World (Second Version) | Beirut

فيروس ٢٠٢٠ - Sufi (صوفي) (in Khushue, 2023)

The sounds of jaguars in the Pantanal

Morton Feldman — Violin and String Quartet (Another Timbre)

Composed in 1985, just two years before he died of cancer in 1987, Morton Feldman’s Violin and String Quartet embodies his interests in patterns, such as the intricate, slightly asymmetrical threading of Asian rugs. Similarly, Violin and String Quartet contains off-kilter, slowly evolving harmonies, post-tonal in terms of trajectory; they are  self-contained entities that inhabit a place in which instability and repetition conjoin.

Quintets with violins are somewhat unusual. In a standard classical piece by Mozart or Schubert, one is more likely to find two violas or cellos. The group of players here — Mira Benjamin, Chihiro Ono, and Amalia Young, violins, Bridget Carey, viola, and Anton Lukoszevieze, cello — play together as if this is the most ubiquitous of instrumentations. Their level of attention to tiny details in the score, as well as their unflagging energy, make this an important document of Feldman’s late music.

The designation of one of the violins separately is significant. Sometimes the first violin will be required to play a solo role, tearing off from tutti ostinato passages to play altissimo high notes and polyrhythms —often five against four — that delineate it from the rest of the group. At others, its upper register sustained notes meld with the string quartet.

Like most of Feldman’s late music, Violin and String Quartet is quite long, well over two hours, and prevailingly slow and soft. The piece begins with verticals that are morphed by small glissandos into rubbery totems. These are contrasted by moments of glassine verticals, played with straight tone. For a stretch two-thirds of the way in, the first violin’s harmonics are set against blocks of enigmatic chords.

Without a linear narrative or break in the action, a piece of such long duration is difficult to summarize. Perhaps that is part of the point. Attention to small details and their variations is rewarded, just as a meditative stance can be a way to contemplate Feldman’s music. In a pre-concert talk about a different piece, Feldman was quoted as saying,”It’s a short three hours!” Approached with an open mind and ears, Violin and String Quartet can feel the same way.

Christian Carey

they come out when the nurses think she’s asleep

having sex with my toy

first silence ~ daffodil, mmiv

Johan Halvorsen (1864-1935) - Passacaglia (after Handel, HWV 432) for Violin and Viola in g-minor. Performed by Alte Musik Köln on period instruments.

** Leopoldine **

** Ez3kiel ***

Amazing Classic piano instrumental ❤️