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{"id":8766162108666,"title":"Morton Feldman \/\/ Feldman Edition 14: Complete Music for Cello \u0026 Piano 2xCD","handle":"morton-feldman-feldman-edition-14-complete-music-for-cello-piano-2xcd-1","description":"\u003cp\u003e\u003cspan\u003eアメリカの作曲家Morton Feldman（1926-1987年）が、2024年3月に同国NYのコンテンポラリーレーベルModeからリリースした2枚組CDです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e彼が35年間で制作したチェロとピアノのための作品を未発表曲含め\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e24曲全て収録。ライナーノート付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e以下、\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eSamuel Clay Birmaherによる解説です。\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"このリリースでは、フェルドマンが作曲したチェロとピアノのための作品を、未発表作品や初録音を含めてすべて収録している。\u003cbr\u003e\u003cbr\u003eこれらの作品を合わせると、フェルドマンの音楽の物語が見えてくる。フェルドマンが学生時代に自分の声を探していたときから、晩年に新しい扉を開くまでの35年間、つまり彼の生涯の半分以上にわたる作品である。\u003cbr\u003e\u003cbr\u003eこのアルバムは、図形楽譜の柔軟性が何をもたらすかを聴く機会を与える『デュレーションズ2』（1960年）の2つのリアリゼーションで締めくくられている。\u003cbr\u003e\u003cbr\u003e『ソナチネ』（1946年）は、最も初期の作品で、初録音。フェルドマンはベーラ・バルトークの影響を受け、楽器の演奏の現実を十分に理解することなく、彼が愛するチェロの音のために作曲した。その結果生まれたソロ・パートは素朴なヴィルトゥオーゾ的で、しばしば演奏不可能ですらある。この録音では、スティーヴン・マロットは可能な限り楽譜に忠実で、フェルドマンが心の耳で聴いたものを実現することを目指している。\u003cbr\u003e\u003cbr\u003e1948年まで、フェルドマンは作曲家シュテファン・ヴォルプに個人的に数年間師事していた。その年に発表された未発表の《2つの小品》は、論理によってではなく、慎重に構えられた身振りによって、揺れ動く音楽をつなぎとめている。この作品や他の初期の作品に見られる感情的なドラマは、やがてフェルドマンの音楽から消えていくことになるが、「形」という考え方は、何よりもフェルドマンの生涯に残るものであった。\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1950年、フェルドマンはジョン・ケージと出会い、ニューヨークのアヴァンギャルドの世界へと導かれた。未発表のコンパクトな「チェロとピアノのためのコンポジション」（1951年）は、突如として発表されたが、そのミニマルな素材とぼやけた音の記憶の中に、すでに彼の最後の作品のDNAが含まれている。\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「シュトックハウゼン、ケージ、ストラヴィンスキー、そしてメアリー・スプリンソンのために」（1972年）は、フェルドマンが当時制作していた主要な作品群から切り離された、儚い未発表作品である。同じ和音を2つの異なる方法で表現している。\u003cbr\u003e\u003cbr\u003e1時間29分近くある \"Patterns in a Chromatic Field\"(1981)は、フェルドマンの後期の長時間の作品であり、おそらくここに収録された作品の中で最もよく知られている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618169192\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=812477012\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618169192\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618169192\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2026297168\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003ehere\u003c\/a\u003e to see more Mode releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e--------------------------------------\u003c\/p\u003e\n\u003cp\u003eCD in jewel case. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e1. Durations 2 (1960) [Realization 1] 04:09\u003cbr\u003e2. Composition for cello \u0026amp; piano (1951) I. 00:29\u003cbr\u003e3. Composition for cello \u0026amp; piano (1951) II. 00:30\u003cbr\u003e4. Composition for cello \u0026amp; piano (1951) III. 00:21\u003cbr\u003e5. Composition for cello \u0026amp; piano (1951) IV. 00:28\u003cbr\u003e6. Composition for cello \u0026amp; piano (1951) V. 00:26\u003cbr\u003e7. Composition for cello \u0026amp; piano (1951) VI. 00:26\u003cbr\u003e8. Composition for cello \u0026amp; piano (1951) VII. 00:24\u003cbr\u003e9. Composition for cello \u0026amp; piano (1951) VIII. 01:31\u003cbr\u003e10. Sonatina (1946) I. Allegro 03:35\u003cbr\u003e11. Sonatina (1946) II. Larghetto cantabile e tranquillo 03:51\u003cbr\u003e12. Sonatina (1946) III. Allegro grazioso 02:09\u003cbr\u003e13. Two Pieces (1948) I. Allegro 00:34\u003cbr\u003e14. Two Pieces (1948) II. Intermezzo 01:09\u003cbr\u003e15. For Stockhausen, Cage, Stravinsky, and Mary Sprinson (1972) 00:46\u003cbr\u003e16. Patterns in a Chromatic Field (1981) mm. 1-387, page 1 14:19\u003cbr\u003e17. mm. 388-558 page 20 09:56\u003cbr\u003e18. mm 559-792, page 27 14:16\u003cbr\u003e19. mm. 793-864, page 35 13:20\u003cbr\u003e20. mm. 865-1045, page 46 08:13\u003cbr\u003e21. mm. 1046-1166, page 52 13:06\u003cbr\u003e22. mm. 1167-1426, page 64 07:49\u003cbr\u003e23. mm. 1427-end page 69 07:46\u003cbr\u003e24. Durations 2 (1960) [Realization 2] 03:52\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eStephen Marotto, cello\u003cbr\u003eMarilyn Nonken, piano\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eLiner notes by Samuel Clay Birmaher :\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This release brings together ALL of Morton Feldman’s compositions for cello and piano, including unpublished works and a first recording. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTogether, these works tell the story of Feldman’s music. They span 35 years — over half his lifetime — from when he was searching for his voice as a student to when he was opening new doors in the last years of his life. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe album is bookended by two realizations the graphic score “Durations 2” (1960), giving an opportunity to hear what the flexibility of graphic notation can bring. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe “Sonatina” (1946) is earliest work here, and a first recording. Displaying the influence of Béla Bartók, Feldman wrote for the cello sound he loved without fully understanding the realities of playing the instrument. The resulting solo part is naively virtuosic and often even impossible to play. For this recording, Stephen Marotto keeps as close as possible to the written score, aiming to fulfill what Feldman heard in his mind’s ear. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBy 1948, Feldman had been studying privately with the composer Stefan Wolpe for several years. The unpublished “Two Pieces,” of that year is a fluctuating music held together not by logic, but\u003cspan class=\"bcTruncateMore\"\u003e through its carefully poised gestures — what Wolpe called “shape.” While the emotional drama of this and other early works would soon disappear from Feldman’s music, it was above all the idea of “shape” that remained with him for the rest of his life. \u003cbr\u003e\u003cbr\u003eIn 1950, Feldman met John Cage, who shepherded him into the world of the New York avant-garde. The unpublished, compact, “Composition for cello and piano” (1951) is a sudden breakthrough, yet it already contains the DNA of his very last works in its minimal material and blurred memories of sounds. \u003cbr\u003e\u003cbr\u003e“For Stockhausen, Cage, Stravinsky, and Mary Sprinson” (1972) is an ephemeral, unpublished piece, a shard of music broken off from the main body of work Feldman was producing at the time. It consists of just two musical moments separated by silence — the same chord expressed in two different ways. \u003cbr\u003e\u003cbr\u003eAt almost 1 hour 29 minutes, “Patterns in a Chromatic Field” (1981) is of Feldman’s late, long duration period of works and it perhaps the best known of the works recorded here. \u003c\/span\u003e\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Morton Feldman\u003c\/p\u003e\n\u003cp\u003elabel : mode\u003c\/p\u003e","published_at":"2025-04-18T06:43:52+09:00","created_at":"2025-04-16T16:44:52+09:00","vendor":"Tobira Records","type":"","tags":["cd","contemporary \/ sound poetry","mode","new","recommended"],"price":521200,"price_min":521200,"price_max":521200,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47259871740154,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Morton Feldman \/\/ Feldman Edition 14: Complete Music for Cello \u0026 Piano 2xCD","public_title":null,"options":["Default Title"],"price":521200,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a0684531994_16.jpg?v=1710758927","\/\/tobirarecords.com\/cdn\/shop\/files\/0035234291_10.jpg?v=1710758928"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0684531994_16.jpg?v=1710758927","options":["Title"],"media":[{"alt":null,"id":33406841848058,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0684531994_16.jpg?v=1710758927"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0684531994_16.jpg?v=1710758927","width":700},{"alt":null,"id":33406841946362,"position":2,"preview_image":{"aspect_ratio":1.268,"height":946,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0035234291_10.jpg?v=1710758928"},"aspect_ratio":1.268,"height":946,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0035234291_10.jpg?v=1710758928","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan\u003eアメリカの作曲家Morton Feldman（1926-1987年）が、2024年3月に同国NYのコンテンポラリーレーベルModeからリリースした2枚組CDです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e彼が35年間で制作したチェロとピアノのための作品を未発表曲含め\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e24曲全て収録。ライナーノート付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e以下、\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eSamuel Clay Birmaherによる解説です。\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"このリリースでは、フェルドマンが作曲したチェロとピアノのための作品を、未発表作品や初録音を含めてすべて収録している。\u003cbr\u003e\u003cbr\u003eこれらの作品を合わせると、フェルドマンの音楽の物語が見えてくる。フェルドマンが学生時代に自分の声を探していたときから、晩年に新しい扉を開くまでの35年間、つまり彼の生涯の半分以上にわたる作品である。\u003cbr\u003e\u003cbr\u003eこのアルバムは、図形楽譜の柔軟性が何をもたらすかを聴く機会を与える『デュレーションズ2』（1960年）の2つのリアリゼーションで締めくくられている。\u003cbr\u003e\u003cbr\u003e『ソナチネ』（1946年）は、最も初期の作品で、初録音。フェルドマンはベーラ・バルトークの影響を受け、楽器の演奏の現実を十分に理解することなく、彼が愛するチェロの音のために作曲した。その結果生まれたソロ・パートは素朴なヴィルトゥオーゾ的で、しばしば演奏不可能ですらある。この録音では、スティーヴン・マロットは可能な限り楽譜に忠実で、フェルドマンが心の耳で聴いたものを実現することを目指している。\u003cbr\u003e\u003cbr\u003e1948年まで、フェルドマンは作曲家シュテファン・ヴォルプに個人的に数年間師事していた。その年に発表された未発表の《2つの小品》は、論理によってではなく、慎重に構えられた身振りによって、揺れ動く音楽をつなぎとめている。この作品や他の初期の作品に見られる感情的なドラマは、やがてフェルドマンの音楽から消えていくことになるが、「形」という考え方は、何よりもフェルドマンの生涯に残るものであった。\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1950年、フェルドマンはジョン・ケージと出会い、ニューヨークのアヴァンギャルドの世界へと導かれた。未発表のコンパクトな「チェロとピアノのためのコンポジション」（1951年）は、突如として発表されたが、そのミニマルな素材とぼやけた音の記憶の中に、すでに彼の最後の作品のDNAが含まれている。\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「シュトックハウゼン、ケージ、ストラヴィンスキー、そしてメアリー・スプリンソンのために」（1972年）は、フェルドマンが当時制作していた主要な作品群から切り離された、儚い未発表作品である。同じ和音を2つの異なる方法で表現している。\u003cbr\u003e\u003cbr\u003e1時間29分近くある \"Patterns in a Chromatic Field\"(1981)は、フェルドマンの後期の長時間の作品であり、おそらくここに収録された作品の中で最もよく知られている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618169192\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=812477012\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618169192\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618169192\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2026297168\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003ehere\u003c\/a\u003e to see more Mode releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e--------------------------------------\u003c\/p\u003e\n\u003cp\u003eCD in jewel case. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e1. Durations 2 (1960) [Realization 1] 04:09\u003cbr\u003e2. Composition for cello \u0026amp; piano (1951) I. 00:29\u003cbr\u003e3. Composition for cello \u0026amp; piano (1951) II. 00:30\u003cbr\u003e4. Composition for cello \u0026amp; piano (1951) III. 00:21\u003cbr\u003e5. Composition for cello \u0026amp; piano (1951) IV. 00:28\u003cbr\u003e6. Composition for cello \u0026amp; piano (1951) V. 00:26\u003cbr\u003e7. Composition for cello \u0026amp; piano (1951) VI. 00:26\u003cbr\u003e8. Composition for cello \u0026amp; piano (1951) VII. 00:24\u003cbr\u003e9. Composition for cello \u0026amp; piano (1951) VIII. 01:31\u003cbr\u003e10. Sonatina (1946) I. Allegro 03:35\u003cbr\u003e11. Sonatina (1946) II. Larghetto cantabile e tranquillo 03:51\u003cbr\u003e12. Sonatina (1946) III. Allegro grazioso 02:09\u003cbr\u003e13. Two Pieces (1948) I. Allegro 00:34\u003cbr\u003e14. Two Pieces (1948) II. Intermezzo 01:09\u003cbr\u003e15. For Stockhausen, Cage, Stravinsky, and Mary Sprinson (1972) 00:46\u003cbr\u003e16. Patterns in a Chromatic Field (1981) mm. 1-387, page 1 14:19\u003cbr\u003e17. mm. 388-558 page 20 09:56\u003cbr\u003e18. mm 559-792, page 27 14:16\u003cbr\u003e19. mm. 793-864, page 35 13:20\u003cbr\u003e20. mm. 865-1045, page 46 08:13\u003cbr\u003e21. mm. 1046-1166, page 52 13:06\u003cbr\u003e22. mm. 1167-1426, page 64 07:49\u003cbr\u003e23. mm. 1427-end page 69 07:46\u003cbr\u003e24. Durations 2 (1960) [Realization 2] 03:52\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eStephen Marotto, cello\u003cbr\u003eMarilyn Nonken, piano\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eLiner notes by Samuel Clay Birmaher :\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This release brings together ALL of Morton Feldman’s compositions for cello and piano, including unpublished works and a first recording. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTogether, these works tell the story of Feldman’s music. They span 35 years — over half his lifetime — from when he was searching for his voice as a student to when he was opening new doors in the last years of his life. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe album is bookended by two realizations the graphic score “Durations 2” (1960), giving an opportunity to hear what the flexibility of graphic notation can bring. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe “Sonatina” (1946) is earliest work here, and a first recording. Displaying the influence of Béla Bartók, Feldman wrote for the cello sound he loved without fully understanding the realities of playing the instrument. The resulting solo part is naively virtuosic and often even impossible to play. For this recording, Stephen Marotto keeps as close as possible to the written score, aiming to fulfill what Feldman heard in his mind’s ear. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBy 1948, Feldman had been studying privately with the composer Stefan Wolpe for several years. The unpublished “Two Pieces,” of that year is a fluctuating music held together not by logic, but\u003cspan class=\"bcTruncateMore\"\u003e through its carefully poised gestures — what Wolpe called “shape.” While the emotional drama of this and other early works would soon disappear from Feldman’s music, it was above all the idea of “shape” that remained with him for the rest of his life. \u003cbr\u003e\u003cbr\u003eIn 1950, Feldman met John Cage, who shepherded him into the world of the New York avant-garde. The unpublished, compact, “Composition for cello and piano” (1951) is a sudden breakthrough, yet it already contains the DNA of his very last works in its minimal material and blurred memories of sounds. \u003cbr\u003e\u003cbr\u003e“For Stockhausen, Cage, Stravinsky, and Mary Sprinson” (1972) is an ephemeral, unpublished piece, a shard of music broken off from the main body of work Feldman was producing at the time. It consists of just two musical moments separated by silence — the same chord expressed in two different ways. \u003cbr\u003e\u003cbr\u003eAt almost 1 hour 29 minutes, “Patterns in a Chromatic Field” (1981) is of Feldman’s late, long duration period of works and it perhaps the best known of the works recorded here. \u003c\/span\u003e\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Morton Feldman\u003c\/p\u003e\n\u003cp\u003elabel : mode\u003c\/p\u003e"}
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アメリカの作曲家Morton Feldman（1926-1987年）が、2024年3月に同国NYのコンテンポラリーレーベルModeからリリースした2枚組CDです。 彼が35年間で制作したチェロとピアノのための作品を未発表曲含め24曲全て収録。ライナーノート付属。 以下、Samuel Clay Birmaherによる解説です。 "このリリースでは、フェルドマンが作曲したチェロとピアノのための作品を、未発表作品や初録音を含めてすべて収録している。これらの作品を合わせると、フェルドマンの音楽の物語が見えてくる。フェルドマンが学生時代に自分の声を探していたときから、晩年に新しい扉を開くまでの35年間、つまり彼の生涯の半分以上にわたる作品である。このアルバムは、図形楽譜の柔軟性が何をもたらすかを聴く機会を与える『デュレーションズ2』（1960年）の2つのリアリゼーションで締めくくられている。『ソナチネ』（1946年）は、最も初期の作品で、初録音。フェルドマンはベーラ・バルトークの影響を受け、楽器の演奏の現実を十分に理解することなく、彼が愛するチェロの音のために作曲した。その結果生まれたソロ・パートは素朴なヴィルトゥオーゾ的で、しばしば演奏不可能ですらある。この録音では、スティーヴン・マロットは可能な限り楽譜に忠実で、フェルドマンが心の耳で聴いたものを実現することを目指している。1948年まで、フェルドマンは作曲家シュテファン・ヴォルプに個人的に数年間師事していた。その年に発表された未発表の《2つの小品》は、論理によってではなく、慎重に構えられた身振りによって、揺れ動く音楽をつなぎとめている。この作品や他の初期の作品に見られる感情的なドラマは、やがてフェルドマンの音楽から消えていくことになるが、「形」という考え方は、何よりもフェルドマンの生涯に残るものであった。1950年、フェルドマンはジョン・ケージと出会い、ニューヨークのアヴァンギャルドの世界へと導かれた。未発表のコンパクトな「チェロとピアノのためのコンポジション」（1951年）は、突如として発表されたが、そのミニマルな素材とぼやけた音の記憶の中に、すでに彼の最後の作品のDNAが含まれている。 「シュトックハウゼン、ケージ、ストラヴィンスキー、そしてメアリー・スプリンソンのために」（1972年）は、フェルドマンが当時制作していた主要な作品群から切り離された、儚い未発表作品である。同じ和音を2つの異なる方法で表現している。1時間29分近くある "Patterns in a Chromatic Field"(1981)は、フェルドマンの後期の長時間の作品であり、おそらくここに収録された作品の中で最もよく知られている。" レーベルその他作品はこちら ///...
¥5,212
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{"id":8764873572602,"title":"Morton Feldman \/\/ Feldman Edition 13: For Bunita Marcus CD","handle":"morton-feldman-feldman-edition-13-for-bunita-marcus-cd-1","description":"\u003cp\u003eアメリカの作曲家Morton Feldman(1926-1987)の図形楽譜集第13弾です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1741791470\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003ehere\u003c\/a\u003e to see more Mode releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e----------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCD in jewel case. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eVol. 13:\u003c\/em\u003e \u003cem\u003eFor Bunita Marcus\u003c\/em\u003e performed by Aki Takahashi, one of the greatest Feldman intrerpreters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Measures 1 - 289 10:27\u003cbr\u003e2. Measures 290 - 557 10:07\u003cbr\u003e3. Measures 558 - 766 09:29\u003cbr\u003e4. Measures 767 - 991 09:58\u003cbr\u003e5. Measures 992 - 1269 11:59\u003cbr\u003e6. Measures 1270 - 1372 06:07\u003cbr\u003e7. Measures 1373 - End 16:05\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMode:\u003c\/p\u003e\n\u003cp\u003e\"'\u003cem\u003eFor Bunita Marcus' opens with a clear call to our attention. With these first six notes, we step over the threshold and into the journey of the piece. We know that we are in this for the long haul: Morton Feldman’s late works are notorious for being marathons. He composed For Bunita Marcus in 1985, immediately after his four-hour For Philip Guston, and two years after his six-hour String Quartet (II) These earlier works make an hour-long solo piano piece seem short. Still, it is a long time to sustain a single movement, a single journey, and we inevitably have this in mind as we take the first step: so this is how it starts.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor Bunita Marcus, like all the late Feldman works, is an adventure that takes a relatively long time to play out, but which is remarkably lacking in heaviness. We may expect an epic, but we get something much subtler. Indeed, what we get is the present moment, in all its beauty, over and over again. If we surrender to the musical image that is right in front of us, a piece like For Bunita Marcus is an easy world to enter into and to explore with Feldman. We step into the silence after that first six-note motto, and we wonder: What comes next? The next hour and a quarter is spent doing nothing more than discovering what comes next—and the next thing after that, and the next after that.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor Bunita Marcus is performed here by Aki Takahashi, one of the greatest Feldman intrepreters. After Triadic Memories, Feldman composed all his piano music for Aki Takahashi. In remarks made before the U.S. premiere of Triadic Memories, he described Takahashi as “absolutely still,” “undisturbed, unperturbed, as if in a concentrated prayer.” He found that her concentration was transmitted to the audience; a performance by her was “like a séance.” Ms. Takahashi premiered the work in Middleburg, The Netherlands in 1985. Through her performance, the journey of For Bunita Marcus is rich in color, pacing and poetry.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe cover photo of Feldman, Bunita Marcus and Aki Takahashi was taken around the time of the premiere.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Morton Feldman\u003c\/p\u003e\n\u003cp\u003elabel : mode\u003c\/p\u003e\n\u003cp\u003ecat no : mode314\u003c\/p\u003e","published_at":"2025-04-18T07:00:02+09:00","created_at":"2025-04-15T14:12:25+09:00","vendor":"Tobira Records","type":"","tags":["cd","contemporary \/ sound poetry","mode","new"],"price":285200,"price_min":285200,"price_max":285200,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47257211863290,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Morton Feldman \/\/ Feldman Edition 13: For Bunita Marcus CD","public_title":null,"options":["Default Title"],"price":285200,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/a2480272835_16.jpg?v=1604035163"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2480272835_16.jpg?v=1604035163","options":["Title"],"media":[{"alt":null,"id":13010589909157,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2480272835_16.jpg?v=1604035163"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2480272835_16.jpg?v=1604035163","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカの作曲家Morton Feldman(1926-1987)の図形楽譜集第13弾です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1741791470\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003ehere\u003c\/a\u003e to see more Mode releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e----------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCD in jewel case. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eVol. 13:\u003c\/em\u003e \u003cem\u003eFor Bunita Marcus\u003c\/em\u003e performed by Aki Takahashi, one of the greatest Feldman intrerpreters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Measures 1 - 289 10:27\u003cbr\u003e2. Measures 290 - 557 10:07\u003cbr\u003e3. Measures 558 - 766 09:29\u003cbr\u003e4. Measures 767 - 991 09:58\u003cbr\u003e5. Measures 992 - 1269 11:59\u003cbr\u003e6. Measures 1270 - 1372 06:07\u003cbr\u003e7. Measures 1373 - End 16:05\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMode:\u003c\/p\u003e\n\u003cp\u003e\"'\u003cem\u003eFor Bunita Marcus' opens with a clear call to our attention. With these first six notes, we step over the threshold and into the journey of the piece. We know that we are in this for the long haul: Morton Feldman’s late works are notorious for being marathons. He composed For Bunita Marcus in 1985, immediately after his four-hour For Philip Guston, and two years after his six-hour String Quartet (II) These earlier works make an hour-long solo piano piece seem short. Still, it is a long time to sustain a single movement, a single journey, and we inevitably have this in mind as we take the first step: so this is how it starts.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor Bunita Marcus, like all the late Feldman works, is an adventure that takes a relatively long time to play out, but which is remarkably lacking in heaviness. We may expect an epic, but we get something much subtler. Indeed, what we get is the present moment, in all its beauty, over and over again. If we surrender to the musical image that is right in front of us, a piece like For Bunita Marcus is an easy world to enter into and to explore with Feldman. We step into the silence after that first six-note motto, and we wonder: What comes next? The next hour and a quarter is spent doing nothing more than discovering what comes next—and the next thing after that, and the next after that.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor Bunita Marcus is performed here by Aki Takahashi, one of the greatest Feldman intrepreters. After Triadic Memories, Feldman composed all his piano music for Aki Takahashi. In remarks made before the U.S. premiere of Triadic Memories, he described Takahashi as “absolutely still,” “undisturbed, unperturbed, as if in a concentrated prayer.” He found that her concentration was transmitted to the audience; a performance by her was “like a séance.” Ms. Takahashi premiered the work in Middleburg, The Netherlands in 1985. Through her performance, the journey of For Bunita Marcus is rich in color, pacing and poetry.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe cover photo of Feldman, Bunita Marcus and Aki Takahashi was taken around the time of the premiere.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Morton Feldman\u003c\/p\u003e\n\u003cp\u003elabel : mode\u003c\/p\u003e\n\u003cp\u003ecat no : mode314\u003c\/p\u003e"}
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アメリカの作曲家Morton Feldman(1926-1987)の図形楽譜集第13弾です。 レーベルその他作品はこちら /// Click here to see more Mode releases available at Tobira. ---------------------------- CD...
¥2,852
クイックビュー
{"id":8764867346682,"title":"Morton Feldman \/\/ Feldman Edition 10: Trio DVD","handle":"morton-feldman-feldman-edition-10-trio-dvd-1","description":"\u003cp\u003eアメリカの作曲家Morton Feldman(1926-1987)の図形楽譜集第10弾です。\u003c\/p\u003e\n\u003cp\u003e演奏の映像105分を収録。エッセイ付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1150338152\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003ehere\u003c\/a\u003e to see more Mode releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSurround-sound DVD with full video.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSPECIAL DVD FEATURES:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• The recording sessions were filmed and directed by Tim Chu in High Definition Video, widescreen format. The intimate video allows the viewer to enjoy the subtle interplay of the performers.\u003c\/p\u003e\n\u003cp\u003e•\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBONUS video\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eessay on Feldman and the Trio by the noted German composer and Feldman expert Walter Zimmermann, who hosted the premiere of the Trio at his Beginner’s Studio concerts in Köln (31-minutes).\u003c\/p\u003e\n\u003cp\u003e• The DVD format allows the 105-minutes of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrio\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eto be enjoyed continuously on one disc without a break.\u003c\/p\u003e\n\u003cp\u003e• 5.1 Surround sound, presented in Dolby and 24-bit DTS. Also a dedicated Dolby stereo mix opt\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Beginning 03:03\u003cbr\u003e2. P5 S2 M2 B1 03:06\u003cbr\u003e3. P9 S1 M9 B1 02:52\u003cbr\u003e4. P11 S3 M8 B1 03:37\u003cbr\u003e5. P15 S2 M6 B1 01:32\u003cbr\u003e6. P16 S1 M4 B1 03:21\u003cbr\u003e7. P17 S1 M4 B1 04:02\u003cbr\u003e8. P21 S1 M8 B1 03:55\u003cbr\u003e9. P23 S1 M1 B1 03:51\u003cbr\u003e10. P27 S1 M1 B1 05:26\u003cbr\u003e11. P29 S1 M2 B1 06:27\u003cbr\u003e12. P31 S4 M2 B1 09:11\u003cbr\u003e13. P35 S4 M9 B1 03:02\u003cbr\u003e14. P38 S1 M1 B1 06:15\u003cbr\u003e15. P41 S1 M1 B1 04:34\u003cbr\u003e16. P44 S1 M1 B1 03:46\u003cbr\u003e17. P46 S1 M1 B1 02:18\u003cbr\u003e18. P47 S1 M1 B1 04:15\u003cbr\u003e19. P48 S3 M6 B1 04:35\u003cbr\u003e20. P49 S4 M9 B1 01:46\u003cbr\u003e21. P51 S1 M4 B1 01:59\u003cbr\u003e22. P53 S2 M1 B1 02:31\u003cbr\u003e23. P55 S3 M1 B1 02:09\u003cbr\u003e24. P57 S1 M2 B1 02:25\u003cbr\u003e25. P60 S1 M1 B1 02:40\u003cbr\u003e26. P62 S1 M1 B1 02:47\u003cbr\u003e27. P64 S1 M1 B1 2:02 02:02\u003cbr\u003e28. P67 S1 M1 B1 07:44\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMode:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe expansive length of Feldman’s Trio (1 hr., 45 min., 22 sec.) requires a new approach to listening, which takes scale, the physical experience of sound, and novel uses of musical memory into consideration. With his delicate manipulation of musical materials, Feldman blurs the listener’s sense of time as their musical memory struggles to distinguish between past and present sounds – listeners are free to lose themselves in the beauty of each musical moment.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAki Takahashi and Rohan de Saram (formerly of the Arditti Quartet) both worked closely with Feldman. Marc Sabat is among today’s great Feldman interpreters, having recorded Feldman’s complete music for violin \u0026amp; piano on Mode.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAvailable as a specially priced 2-CD set or complete on a single DVD with full video and extras. This is the only readily available performance of the Trio available in the U.S.A.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOriginal recording in superb 96khz, 24-bit sonics. Two very distinct mixes were made for the surround and stereo versions. The natural reflected hall sound – which would typically be in the rear surround speakers – is not very dramatic because of the basically quiet nature of the Trio. Instead, for the surround mix, we chose to place the listener in an intimate perspective with the musicians: directly between the violin and the cello, with the piano in front. For the stereo mix, the violin and piano are clearly separated left and right to accentuate their interplay. Feldman’s use of extended string techniques can blur the timbral separation between cello and violin, creating unified sonic events exploring the qualities and possibilities of the combination of instruments – for example, utilizing the resonance of the piano and the sustaining qualities and dynamic control of the strings. These subtle nuances are brought out by the detail of the recording.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDetailed essay on the work by Sabine Feisst included in the booklet.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Morton Feldman\u003c\/p\u003e\n\u003cp\u003elabel : mode\u003c\/p\u003e","published_at":"2025-04-18T06:42:30+09:00","created_at":"2025-04-15T13:51:48+09:00","vendor":"Tobira Records","type":"","tags":["books \/ clothing \/ others","contemporary \/ sound poetry","mode","new"],"price":396800,"price_min":396800,"price_max":396800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47257199313146,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Morton Feldman \/\/ Feldman Edition 10: Trio DVD","public_title":null,"options":["Default Title"],"price":396800,"weight":110,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/a0372406871_16.jpg?v=1604034783"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0372406871_16.jpg?v=1604034783","options":["Title"],"media":[{"alt":null,"id":13010576900261,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0372406871_16.jpg?v=1604034783"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0372406871_16.jpg?v=1604034783","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカの作曲家Morton Feldman(1926-1987)の図形楽譜集第10弾です。\u003c\/p\u003e\n\u003cp\u003e演奏の映像105分を収録。エッセイ付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1150338152\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mode\"\u003ehere\u003c\/a\u003e to see more Mode releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSurround-sound DVD with full video.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSPECIAL DVD FEATURES:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• The recording sessions were filmed and directed by Tim Chu in High Definition Video, widescreen format. The intimate video allows the viewer to enjoy the subtle interplay of the performers.\u003c\/p\u003e\n\u003cp\u003e•\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBONUS video\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eessay on Feldman and the Trio by the noted German composer and Feldman expert Walter Zimmermann, who hosted the premiere of the Trio at his Beginner’s Studio concerts in Köln (31-minutes).\u003c\/p\u003e\n\u003cp\u003e• The DVD format allows the 105-minutes of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrio\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eto be enjoyed continuously on one disc without a break.\u003c\/p\u003e\n\u003cp\u003e• 5.1 Surround sound, presented in Dolby and 24-bit DTS. Also a dedicated Dolby stereo mix opt\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Beginning 03:03\u003cbr\u003e2. P5 S2 M2 B1 03:06\u003cbr\u003e3. P9 S1 M9 B1 02:52\u003cbr\u003e4. P11 S3 M8 B1 03:37\u003cbr\u003e5. P15 S2 M6 B1 01:32\u003cbr\u003e6. P16 S1 M4 B1 03:21\u003cbr\u003e7. P17 S1 M4 B1 04:02\u003cbr\u003e8. P21 S1 M8 B1 03:55\u003cbr\u003e9. P23 S1 M1 B1 03:51\u003cbr\u003e10. P27 S1 M1 B1 05:26\u003cbr\u003e11. P29 S1 M2 B1 06:27\u003cbr\u003e12. P31 S4 M2 B1 09:11\u003cbr\u003e13. P35 S4 M9 B1 03:02\u003cbr\u003e14. P38 S1 M1 B1 06:15\u003cbr\u003e15. P41 S1 M1 B1 04:34\u003cbr\u003e16. P44 S1 M1 B1 03:46\u003cbr\u003e17. P46 S1 M1 B1 02:18\u003cbr\u003e18. P47 S1 M1 B1 04:15\u003cbr\u003e19. P48 S3 M6 B1 04:35\u003cbr\u003e20. P49 S4 M9 B1 01:46\u003cbr\u003e21. P51 S1 M4 B1 01:59\u003cbr\u003e22. P53 S2 M1 B1 02:31\u003cbr\u003e23. P55 S3 M1 B1 02:09\u003cbr\u003e24. P57 S1 M2 B1 02:25\u003cbr\u003e25. P60 S1 M1 B1 02:40\u003cbr\u003e26. P62 S1 M1 B1 02:47\u003cbr\u003e27. P64 S1 M1 B1 2:02 02:02\u003cbr\u003e28. P67 S1 M1 B1 07:44\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMode:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe expansive length of Feldman’s Trio (1 hr., 45 min., 22 sec.) requires a new approach to listening, which takes scale, the physical experience of sound, and novel uses of musical memory into consideration. With his delicate manipulation of musical materials, Feldman blurs the listener’s sense of time as their musical memory struggles to distinguish between past and present sounds – listeners are free to lose themselves in the beauty of each musical moment.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAki Takahashi and Rohan de Saram (formerly of the Arditti Quartet) both worked closely with Feldman. Marc Sabat is among today’s great Feldman interpreters, having recorded Feldman’s complete music for violin \u0026amp; piano on Mode.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAvailable as a specially priced 2-CD set or complete on a single DVD with full video and extras. This is the only readily available performance of the Trio available in the U.S.A.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOriginal recording in superb 96khz, 24-bit sonics. Two very distinct mixes were made for the surround and stereo versions. The natural reflected hall sound – which would typically be in the rear surround speakers – is not very dramatic because of the basically quiet nature of the Trio. Instead, for the surround mix, we chose to place the listener in an intimate perspective with the musicians: directly between the violin and the cello, with the piano in front. For the stereo mix, the violin and piano are clearly separated left and right to accentuate their interplay. Feldman’s use of extended string techniques can blur the timbral separation between cello and violin, creating unified sonic events exploring the qualities and possibilities of the combination of instruments – for example, utilizing the resonance of the piano and the sustaining qualities and dynamic control of the strings. These subtle nuances are brought out by the detail of the recording.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDetailed essay on the work by Sabine Feisst included in the booklet.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Morton Feldman\u003c\/p\u003e\n\u003cp\u003elabel : mode\u003c\/p\u003e"}
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アメリカの作曲家Morton Feldman(1926-1987)の図形楽譜集第10弾です。 演奏の映像105分を収録。エッセイ付属。 レーベルその他作品はこちら /// Click here to see more Mode releases available at Tobira. ----------------------------------------------- Surround-sound...
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{"id":8758884630778,"title":"Andrzej Steinbach \/\/ Portal LP","handle":"andrzej-steinbach-portal-lp","description":"\u003cp\u003eドイツの実験音楽家／写真家Andrzej Steinbachが、2024年10月に自主リリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eレオポルド美術館で行った自作楽器による演奏です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1739223621\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e---------------------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003eEdition of 300. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Wartehalle 19:58\u003cbr\u003e2. Behörde 19:58\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eArrangement, performance, recording, mixing, production and photography: Andrzej Steinbach\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eRecording, mix and mastering in mono.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eRecorded on January 8, 2024 at the Leopold Hoesch Museum Düren, on the upper floor of the old east wing.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe Katharinenglocke (1955, chime f¹) of the Marienkirche Düren rings in the background.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Andrzej Steinbach\u003c\/p\u003e\n\u003cp\u003eLabel : Kinder\u003c\/p\u003e\n\u003cp\u003ecat no : K3\u003c\/p\u003e","published_at":"2025-04-10T09:11:56+09:00","created_at":"2025-04-08T10:46:23+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","drone","lp","monooto","new"],"price":388400,"price_min":388400,"price_max":388400,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47243740446970,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Andrzej Steinbach \/\/ Portal LP","public_title":null,"options":["Default Title"],"price":388400,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"4250101476853","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/an1_d8a6f9ce-1693-4d03-b177-94fae144dab8.jpg?v=1744076633","\/\/tobirarecords.com\/cdn\/shop\/files\/por1_a82ccc41-d15e-4591-83bc-e6ef375094e4.jpg?v=1744076632"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/an1_d8a6f9ce-1693-4d03-b177-94fae144dab8.jpg?v=1744076633","options":["Title"],"media":[{"alt":null,"id":35852182651130,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/an1_d8a6f9ce-1693-4d03-b177-94fae144dab8.jpg?v=1744076633"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/an1_d8a6f9ce-1693-4d03-b177-94fae144dab8.jpg?v=1744076633","width":700},{"alt":null,"id":35852182683898,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/por1_a82ccc41-d15e-4591-83bc-e6ef375094e4.jpg?v=1744076632"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/por1_a82ccc41-d15e-4591-83bc-e6ef375094e4.jpg?v=1744076632","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eドイツの実験音楽家／写真家Andrzej Steinbachが、2024年10月に自主リリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eレオポルド美術館で行った自作楽器による演奏です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1739223621\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e---------------------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003eEdition of 300. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Wartehalle 19:58\u003cbr\u003e2. Behörde 19:58\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eArrangement, performance, recording, mixing, production and photography: Andrzej Steinbach\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eRecording, mix and mastering in mono.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eRecorded on January 8, 2024 at the Leopold Hoesch Museum Düren, on the upper floor of the old east wing.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe Katharinenglocke (1955, chime f¹) of the Marienkirche Düren rings in the background.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Andrzej Steinbach\u003c\/p\u003e\n\u003cp\u003eLabel : Kinder\u003c\/p\u003e\n\u003cp\u003ecat no : K3\u003c\/p\u003e"}
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