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Morton Feldman - 2004 - Violin And Orchestra & Coptic Light (FLAC)

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Music : Classical : Lossless
 

Col
Legno WWE 1CD 20089.

1	Violin And Orchestra 49:56
2	Coptic Light	25:20

Performed by
Symphonieorchester des Bayerischen Rundfunks / Conductor Peter Rundel

"Violin &
Orchestra" was finished in 1979 and first performed in 1984; not only was this the last in his series of "---
and Orchestra" works (there were eight of them so titled), this was the longest (this recording clocks in at 50
minutes but I have also known about another performance being 64 minutes). As usual this not the conventional
"concerto" pitting a flashy soloist against an orchestral canvas; soloistic figures are mostly limited to
bowed long tones and glissandi (with some pizzicato thrown in for good measure) with a constantly changing
background.
This comes from a Feldman's so-called "Zippy period" (all right, called by me mostly)
from 1977 to 1981, which also includes "Neither" (opera in one act), "Flute & Orchestra",
"The Turfan Fragments", "String Quartet No.1", "Trio for piano, violin and `cello", and
"Patterns in a Chromatic Field". Of course the usual hallmarks of Feldman are there: the low dynamics, variant
obsessions with small motifs, and interruptions to silent stretches. The durations started to stretch out much further,
too ("Neither" and "Vn/Orch" are just short of an hour, while "Fl/Orch" and
"Turfan" are each a half an hour, but the three above named chamber works are all well over an hour and a
quarter, at least). But, as in the cases of "Flute & Orch", "Turfan", "Neither" and,
especially "Violin & Orch", there are quite a few occasions where treble winds play clusters in their high
registers. Figures occasionally "zip" by rather fleetingly. Extended pages of chromatic sixteenth note
melodies make appearances now and then. Staccato notes are on occasion barked out, loudly even. There is stillness, but
there is also quirky motion. It is all serious, but there is also some humorous relief.
The opening two pages are
similar to "Patterns in a Chromatic Field", with the violin playing a quick and skittish chromatic passage in
high harmonics punctuated by sforzando blasts from the winds and brass (supported here by delicate, sprinkly string
pizzicati). Later, almost toward the end, the soloist interrupts the proceedings by playing some 12-tone rows
(supposedly Feldman was going to title this piece, "Why Webern?").
This piece is a glimpse as to what
Feldman would be doing for remaining years of his life: His obsession with small patterns and various materials and
stringing them together, following one item with another item, sometimes returning to the previous item, other times
following it with yet another item, spontaneously. A splash of blue with a touch of brown. Waiting. A rattling from the
percussion section. Anticipating. Some dense piano chords with low harp reinforcements. The focus shifts without
warning. It's tradition and non-tradition. Don't expect Mendelssohn or Vivaldi; that's already been taken
care of. One of Feldman's hardest pieces to pin down, but gratifying in the end, please be patient.
As of this
writing, there are now six recordings of "Coptic Light", making this his most recorded orchestral work. On one
hand, I am glad to see that some of Feldman's works are being played often enough, both on disc and in concert
halls (and this recording is quite fine); on the other hand, there are still a host of other orchestral pieces that have
still not seen the light of CD day (such as "Structures for orchestra", "On Time and the Instrumental
Factor", "Orchestra" and "Chorus and Orchestra" (I & II)) but I know these will be released
some day (or at least have a gut feeling) and I (and everyone else out there in "Feldmanland") will be patient
when they do. - Sparky P., Amazon customer

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