a r t i s t : Morton Feldman
t i t l e : The Viola In My Life
d a t e : 2008
l a b e l : ecm
g e n r e : Avantgarde
r l s. d a t e : Jun/2008
t r a c k s : 04
b i t r a t e : VBRkbps
s i z e : 48,8 MB
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Marek Konstantynowicz viola
Cikada Ensemble
Norwegian Radio Orchestra
Christian Eggen conductor
The Viola in My Life I (August 24, 1970)
for viola (solo), flute, violin, violoncello, piano and
percussion
The Viola in My Life II (October 7, 1970)
for viola (solo), flute, clarinet, celesta, percussion, violin
and violoncello
The Viola in My Life III (October 12, 1970)
for viola and piano
The Viola in My Life IV (March 8, 1971)
for viola and orchestra
Recorded August 2001
ECM New Series 1798
After a long period of working with indeterminacy and graphic
notation, Morton Feldman fixed every parameter of ôThe Viola
in My Lifeö (written in 1970/71) û notes, timing, duration,
dynamics û and still the feeling conveyed is of an exquisite
tenuousness, as if the viola is a visitor to the composerÆs
musical universe, where sounds seem to be discovered in the
quiet moment of their playing: ôMy intention was to think of
melody and motivic fragments û somewhat in the way Robert
Rauschenberg uses photographs in his painting û and
superimpose this on a static sound world more characteristic
of my music.öæPainting with soundsÆ is central to FeldmanÆs
music; he was a composer at least as close to the abstract
painters as to musical contemporaries.
"My music is just like Webern. Only a little bit longer."
Morton Feldman (1926-1987)
Morton FeldmanÆs music is distinguished by a resilient
fragility. ôThe Viola in My Lifeö the first three parts of
which were written for American violist Karen Phillips in
1970, marked a break in compositional method. After a long
period of working with indeterminacy and graphic notation,
CageÆs most gifted disciple fixed every parameter of ôThe
Viola in My Lifeö û notes, timing, duration, dynamics û and
still the feeling conveyed is of an exquisite tenuousness, as
if the viola is a visitor to FeldmanÆs musical universe, where
sounds seem to be discovered in the quiet moment of their
playing: ôMy intention was to think of melody and motivic
fragments û somewhat in the way Robert Rauschenberg uses
photographs in his painting û and superimpose this on a static
sound world more characteristic of my music.ö
æPainting with soundsÆ is central to FeldmanÆs music; he was a
composer at least as close to the abstract painters û
especially Rothko, Kline, Guston and Pollock - as to musical
contemporaries. Here instrumental colour is differentiated in
each piece in the cycle. ôThe Viola in My Life Iö is scored
for solo viola, flute, violin, cello, piano and percussion.
The second piece replaces piano with celesta to luminous
effect, and adds clarinet. The third contracts to leave viola
and piano in empty space and the fourth - written in response
to a commission for the Venice Biennale of 1971 û reprises and
refracts melodic fragments from the first three parts, and
allows the viola to hover above delicate orchestration.
ôThe Viola in My Lifeö is the first ECM disc entirely devoted
to the music of Morton Feldman (the early Feldman vocal work
ôOnlyö, a setting of Rilke, was included on the Hilliard
EnsembleÆs ôA Hilliard Songbookö in 1996).
Fixed or indeterminate the laminal nature of FeldmanÆs music
has affinities with the language of improvisation, indeed it
has strongly influenced ænew minimalÆ directions in improvised
music, and it is optimally played by interpreters who have
experience of both worlds, musicians who can both interpret
and create. The members of the Oslo-based Cikada Ensemble
(founded 1989) are exceptionally well-qualified. Polish born
violist Marek Konstantynowicz, for instance, the soloist here,
was active on WarsawÆs free jazz scene before coming to Norway
to join the Trondheim Symphony and participate in the founding
of Cikada.
For ECM New Series Cikada members have recorded music of
composers John Cage, Bruno Maderna, Kaija Saarriaho and Bent
S°rensen. On jazz/improvised albums on ECM Cikada players have
worked, together or separately, with singer Annette Peacock,
saxophonist Trygve Seim and the Source, bassist Arild
Andersen, guitarist Terje Rypdal, folk violinist Mats Eden.
They also recently collaborated with bass guitarist Steve
Swallow in settings of the poetry of Robert Creeley for
Watt/ECM.
Conductor Christian Eggen is renowned for his championing of
contemporary music. He has worked closely with composers
including Cage, Xenakis, Dillon, Lachenmann, Lutoslawski,
Kurtßg, Barrett, Tan Dun, Saariaho and Lindberg and is himself
a writer of pieces for film and theatre, chamber music,
orchestral works, electro-acoustic compositions and more.
Conductor of the Cikada Ensemble since 1988, and artistic
director of the Olso Sinfonietta since 1993, he is the
recipient of many awards. Later this year he will make his
debut with the Orchestra Filarmonica della Scala at the Teatro
alla Scala. He has conducted music of Terje Rypdal on ECM
(ôUndisonusö, ôQ.E.D.ö, ôIf Mountains Could Singö) and played
in RypdalÆs band as keyboardist (on ôSkywardsö).
The Norwegian Radio Orchestra, established 1946, is an
institution well-respected across the idioms. Amongst its many
other engagements the orchestra plays each year at the Nobel
Peace Prize Concert.
CD booklet includes 28 page English-German booklet with liner
notes by Paul Griffiths and Helmut Rohm, photos of Morton
Feldman by Roberto Masotti, and facsimile pages from The Viola
in My Life.
(http://www.ecm-records.com)
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01-The Viola In My Life I [09:19]
02-The Viola In My Life II [10:28]
03-The Viola In My Life III [05:21]
04-The Viola In My Life IV [14:31]
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39:39 min