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4 of 5 people found the following review helpful
Another piece of the Feldman puzzle
23 Sep 2011
Format:Audio CD
For Feldman-ophiles such as myself, every recording and composition reveals a little more about the composer. Yes, much of his work can be divided into "periods": his early, generally brief, sometimes graphic-based works; the longer, "flat", middle period works, and the increasingly lengthy late works (sometimes five hours and beyond). There are exceptions, however.
The pieces on this CD sometimes come as a surprise. This is Feldman's "commercial" music, for lack of a better description: largely works done for hire for film projects. Some of it will sound familiar and typical to those familiar with Feldman's work. The work for two cellos which accompanied a short documentary on Jackson Pollock often sounds like what one might expect of early Feldman.
Other works, such as the cues for the film "Samoa", do come as a real surprise. Feldman is at his most Copland-esque here, sounding very much like the American School: mostly diatonic, open intervals, vaguely tonal. And yet, you can still hear Feldman in these works, with his attention to the details of sound, his orchestration, the ways he uses repetition.
All of the performances are beautifully performed and recorded. I'd consider some of these works to be the most approachable and genteel of Feldman's canon, and yet wouldn't recommend them as a starting point in Feldman's music. I'd reserve that recommendation for "Rothko Chapel" or Joan LaBarbara's "Only" CD. This is why I've only awarded this four stars, though I could easily give it a five star review as well. If you're really interested in Feldman and collect the recordings of his works, I would consider this collection essential if at times atypical. It is great evidence of the range of his abilities.
The pieces on this CD sometimes come as a surprise. This is Feldman's "commercial" music, for lack of a better description: largely works done for hire for film projects. Some of it will sound familiar and typical to those familiar with Feldman's work. The work for two cellos which accompanied a short documentary on Jackson Pollock often sounds like what one might expect of early Feldman.
Other works, such as the cues for the film "Samoa", do come as a real surprise. Feldman is at his most Copland-esque here, sounding very much like the American School: mostly diatonic, open intervals, vaguely tonal. And yet, you can still hear Feldman in these works, with his attention to the details of sound, his orchestration, the ways he uses repetition.
All of the performances are beautifully performed and recorded. I'd consider some of these works to be the most approachable and genteel of Feldman's canon, and yet wouldn't recommend them as a starting point in Feldman's music. I'd reserve that recommendation for "Rothko Chapel" or Joan LaBarbara's "Only" CD. This is why I've only awarded this four stars, though I could easily give it a five star review as well. If you're really interested in Feldman and collect the recordings of his works, I would consider this collection essential if at times atypical. It is great evidence of the range of his abilities.
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