One of a series of works experimenting with notation and interaction that Feldman composed during this period, it's a piece that had hitherto left me entirely cold, a response that, having heard it in a variety of interpretations, i'd assumed must be something to do with Piano Four Hands itself. Morton Feldman – Piano Three Hands & Piano Four Hands by HEM | Human Ear Music, released 08 December One of a series of works experimenting with notation and interaction that Feldman composed during this period, it's a piece that had hitherto left me entirely cold, a response that, having heard it in a variety of interpretations, i'd assumed must be something to do with Piano Four Hands itself.
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The first piece combines two different notation types: Each player follows their own part dogmatically — there is very little room for listening and responding to the other players. The texture is extremely dense, consisting of predominantly thick chromatic chords feldman piano four hands all three pianos which gradually thin out toward the end of the piece.
Morton Feldman - Piano Four Hands by Dante Boon | Free Listening on SoundCloud
The second piece is more coordinated, mostly using the form of notation and sequence used in Vertical Thoughts I, combining stemless noteheads with occasional metred and rhythmically precise notation. False Relationships and the Extended Ending and Between Categories are perhaps the two feldman piano four hands extraordinary works featured here if considering the notational characteristics alone.
Feldman divides the ensemble into two smaller ensembles: The two ensembles in both pieces follow feldman piano four hands mixture of notations, variously strictly notated, with changing tempi, and stemless noteheads, played in sequence and as simultaneities.
That belief was overturned on 25 Novemberwhen Philip Thomas and John Tilbury began their afternoon concert with the piece, and finally everything coalesced. Is the transcription accurate? Is it a good teaching tool?
Consider feldman piano four hands about your experience and musical tastes. Beginning in a largely diatonic environment, an oblique kink just over two minutes in abruptly throws feldman piano four hands focus out; one feels genuinely lost for a time, yet even when things seem to become more definite again, subsequent minor inflections and apparent rogue chords reveal that the whole piece is somewhat rogue, and what seemed like a foundation and sure footholds were actually nothing of the kind.
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