This lengthy album covers multiple phases of Feldman’s musical thinking from 1950 to 1972. Meaningfully, he wrote many of these compositions to play with friends such as John Cage and David Tudor. These challenging pieces, in which Feldman wanted to wash away compositional rhetoric and allow sounds to be heard on their own terms, function as aural palate cleansers. To realize Feldman’s scores, with their indeterminate elements, the pianists must play an active role in the compositional process and coordinate very closely. These musicians do so seamlessly and intuitively, never losing the required concentration, while the recording engineers do incredible work in miking and blending up to five pianos at once. The earliest pieces, such as…

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