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Feldman Edition, vol. 7 : Oeuvres tardives pour clarinette

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Détails sur le produit

  • Interprète: Quatuor Diotima, Carol Robinson clarinette solo et basse clarinette, Carol Robinson (Clarinet)
  • Orchestre: Quatuor Diotima
  • Compositeur: Feldman
  • CD (1 janvier 2009)
  • Nombre de disques: 1
  • Label: Mode Records
  • ASIN : B000087J96
  • Autres versions : Téléchargement MP3
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Descriptions du produit

Morton Feldman : Trois clarinettes, violoncelle & piano - Clarinette basse & percussion - Clarinette & Quatuor à cordes

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Amazon.com: 4.5 étoiles sur 5 2 commentaires
16 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Morton Feldman's (almost) complete works featuring clarinet 8 octobre 2004
Par Sparky P. - Publié sur Amazon.com
Format: CD
This disc presents the three major works featuring clarinet, one from the seventies, two from the eighties. Throw in 1962's brief "Two Pieces for Clarinet & String Quartet" (not on this recording but found on hatArt's Clarinet & String Quartet release, out of print, again well worth seeking out) and you have all of Feldman's works highlighting clarinet/bass clarinet.

The earliest piece here is "Three Clarinets, `Cello and Piano", dated 1971. This piece explores two simple contrasts: the soft attacks of the clarinet and `cello (when bowed) long tones and hard attacks of the piano and `cello (when plucked). Even occasionally are there some loud notes and "swelling dynamics" (crescendos and decrescendos), but otherwise, it's very soft the rest of the way (of course).

"Bass Clarinet & Percussion" was written in 1981, as Feldman was writing mostly extended length pieces, but this is a very compact eighteen minutes (Webernian proportions in comparison!). This is a definite exercise of shadows and fog, of stasis and variation. At the start the bass clarinet plays a recurring melody (the very same line that begins "Why Patterns" and a few other works written at that time) that will reappear in different registers, then with octave displacements of certain notes. Of the four known recordings of "Bass Clarinet & Percussion" (as of this writing), this performance is the best I have thus far heard. The high tympani parts sound very clean and in tune, not just sounding closer to high tom-tom. (In the last pages, one percussionist is playing a kettledrum tuned to A on the top line of the bass clef; the second percussionist plays another kettledrum tuned a major second lower to G and the bass clarinetist cuts in between the two with an A flat. The other recordings sound muddy and unclear but I can actually make out a chromatic melodic contour from the three players in this one.)

Then we have the most substantial piece of this lot, "Clarinet & String Quartet". This was written in 1983, the year that also saw the completion of the Second String Quartet (six hours' duration) and Crippled Symmetry (an hour and a half duration). Compared to those two, Clarinet & String Quartet, at a "mere" forty minutes, is a miniature (almost). And like the other two similarly titled works from the mid 1980's (Piano & String Quartet and Violin & String Quartet) we have here two contending entities (although never competing against each other), in this case the clarinet is the lead and the quartet support. The quartet is almost always heard as a unit, providing a canvas for the clarinet's tone, sometimes supporting, sometimes embracing (that is, either the clarinet's tone will be above the rest, or in the middle of things). Then there are moments where one string player or another will act as a shadow to the clarinet (take, for example, the very beginning, where the clarinet constantly plays a four note chromatic figure of B natural, C, A, B flat (or, auf Deutsch, H-C-A-B - BACH!); the `cellist is also playing those notes but in the score they're spelt differently (C flat, D double flat, G double sharp, A sharp, implying microtones) and at a similar, yet variant, rhythm; that figure is taken shortly thereafter by the viola, and then the whole ensemble will be creating a web of sound).

But, enough of the nitpicking! These are very good performances and I rank this high on my list of favorite Feldman discs.
4.0 étoiles sur 5 Feldman 14: "Clarinet and String Quartet" (Mode) 23 juillet 2016
Par 21st Century Reviews - Publié sur Amazon.com
Format: CD
I thoroughly enjoyed the previous review, and agree that "Bass Clarinet and Percussion" only works in this recording, the tuned percussion really resonating here, whereas in the Barton Workshop set, there is a fuzzy halo of timbre rather than precisely notated notes (they're in tune, just hazier in the BW, no real clear distinction). However, perfect as this performance may be, I still find this to be my least favorite Feldman work. I just don't get it; it sounds like bad Xenakis to me- sorry- as if Morty heard IX's oboe and percussion work "Dmaathen" and was inspired. Anyhow, if anyone wants to help me here, by all means! ;)

I'm skipping the first piece (it's fine, and rare). I feel the above "Bass Clarinet" is the reason to get this CD. "Clarinet and String Quartet" has never been my favorite Feldman either, and this performance doesn't really do anything different than the "Red" label- the sound is, of course, "fresher", as both companies have different recording philosophies when it comes to Feldman. I prefer the Mode sound, but, I don't know that I'd rate one performance over the other. To my ears, they're "about" the same. Whatever it is I need to get this work going for me eludes me in both these recordings. Let's more on to the next one...

STILL, A HIGH FELDMAN RECOMMENDATION (WITH CAVEATS) FOR THE WORKS INCLUDED,
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