{"id":2333,"date":"2015-08-03T10:31:47","date_gmt":"2015-08-03T10:31:47","guid":{"rendered":"http:\/\/carolrobinson.net\/?page_id=2333"},"modified":"2015-08-17T12:33:40","modified_gmt":"2015-08-17T12:33:40","slug":"feldman","status":"publish","type":"page","link":"https:\/\/carolrobinson.net\/fr\/recordings\/feldman\/","title":{"rendered":"Feldman"},"content":{"rendered":"

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Late Works with Clarinet\u00a0<\/strong><\/p>\n

MORTON FELDMAN<\/p>\n

Three Clarinets, Cello and Piano <\/em><\/strong>(9:33)
\nBass Clarinet and Percussion<\/strong> <\/em>(17:30)
\nClarinet and String Quartet <\/em><\/strong>(42:20)<\/p>\n

Carol Robinson \u2013 clarinette solo et clarinette basse
\nQuatuor Diotima
\nPierre Dutrrieu \u2013 clarinette
\nOlivier Voize \u2013 clarinette
\nElena Andreyev – violoncelle
\nVincent Letherme – piano
\nFran\u00e7oise Rivalland \u2013 percussions
\nPeppie Wiersma – percussions<\/p>\n

Mode 119 www.moderecords.com<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Presse<\/strong><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Robert Carl<\/a>
\nFanfare, issue 27-2<\/strong>
\nNovembre\/D\u00e9cembre 2003[\/vc_column_text][vc_column_text]Franck Mallet<\/a>
\nLe Monde de la musique<\/strong> n\u00b0279
\nSeptembre 2003[\/vc_column_text][vc_column_text]Alan Nicholson<\/a>
\nWhy Patterns<\/strong>[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Jean Vermeil<\/a>
\nR\u00e9pertoire n\u00b0 170<\/strong>
\nJuillet\/Ao\u00fbt 2003[\/vc_column_text][vc_column_text]Andrew Clements<\/a>
\nThe Guardian<\/strong>
\n25 juillet 2003[\/vc_column_text][vc_column_text]Brian Marley<\/a>
\nThe Wire <\/strong>
\nNovembre 2003[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Stefano Russomanno<\/a>
\nRetazos De Suavidad<\/strong> Juillet\/Ao\u00fbt 2003<\/span>[\/vc_column_text][vc_column_text]Pierre Rigaudi\u00e8re<\/a>
\nDiapason n\u00b0 506<\/strong>
\nSeptembre 2003[\/vc_column_text][vc_column_text]Mike Silverton<\/a>
\nLa Folia<\/a><\/strong>
\nOctobre 2003[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Robert Carl,<\/strong>
\nFanfare, issue 27-2
\nNovembre\/D\u00e9cembre 2003<\/p>\n

[\u2026] By the 1971 Three Clarinets, Cello, and Piano, Feldman had perfected his mature language, consisting of isolated blocks of sounds, floating in time\u2019s amniotic fluid. This work is austere, and largely non-repetitive, even though it is highly static. A decade later in Bass Clarinet and Percussion (1981) and Clarinet and String Quartet (1983) the music has advanced a step further, in that now slowly repeating textures are allowed, and its scale is expanding. The work with clarinet is not on the level of the gargantuan Second String Quartet, but its more-than-forty-minutes duration certainly evokes an image of timelessness. And the work for bass clarinet is quite simply a masterpiece, suggesting a deep mystery in its dark rumbling sounds, its barely audible whispers from the clarinet, and its periodic delicate ‘tickings’. One thing that emerges from these pieces is that by this point (near the end; the composer died in 1987 at the too-early age of sixty-one), is that Feldman had become a master in his manipulation of motive, which ironically links him with the great German tradition through Schoenberg, Brahms, and Beethoven. The simplest ideas repeat and mutate effortlessly, hypnotizing and drawing the listener through a dream that is the music.<\/p>\n

I don\u2019t believe that the two quintets are among Feldman\u2019s greatest music, but that doesn\u2019t keep me from singing the praises of this extraordinary recording. Part of it is the sound itself—the full sensuous weight of the ensembles\u2019 sonorities comes through with immediate presence throughout. The other factor is the breathtaking artistry of Carol Robinson. [\u2026] Her control of dynamics and tone is stunning. And even more importantly, she seems to have an instinctive interpretive understanding of Feldman. This allows her to bring the core musical values of these works to the fore. In her hands, we can actually hear both why they are important, and just how difficult they are! (The latter fact being emphasized by how easy she makes them seem; in Robinson\u2019s hands, the old virtuoso paradigm is renewed and transferred to this seemingly anti-virtuosic music.)\u2026definitely Want List material, and essential listening. [\u2026]<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Andrew Clements<\/strong>
\nThe Guardian (London)
\n25 juillet 2003<\/p>\n

Towards the end of his life, Morton Feldman abandoned descriptive or poetic titles for his works, labelling them instead simply by their instrumentation and in the process underlining the wonderfully abstract intensity of the invention. On this beautifully nuanced disc, with limpid clarinet playing from Carol Robinson, Three Clarinets, Cello and Piano (1971) is the earliest piece, juxtaposing tight-packed clarinet lines with pizzicatos and suspended piano chords. The 1981 Bass Clarinet and Percussion suspends solitary melodic lines over steadily shifting patterns of drum pulses, all within a dynamic envelope that never rises above a whisper. Clarinet and String Quartet (1983) is a much more substantial work, over 40 minutes; the sound world is as sparing as the musical material, but the microscopic variations that Feldman imposes on both are compelling.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Alan Nicholson<\/strong>
\nWhy Patterns<\/p>\n

Oddly enough, Feldman’s clarinet works remain a still relatively unknown section of his oeuvre. With the exception of the now deleted 1995 recording of Clarinet and String Quartet (1983) and Two Pieces for Clarinet and String Quartet (1961) on Hat Hut (ART CD 6166), this installment of Mode’s Feldman Edition is, I believe, the only disc to exclusively feature pieces written by Feldman for the instrument, and to be clear from the outset: it’s a cracker. Featuring Carol Robinson on clarinet and bass clarinet, the disc is a worthy companion to her recordings of Giacinto Scelsi’s wind music on Mode 102 last year with Cathy Milliken and Clara Novakova. Indeed, if that isn’t recommendation enough, the three works on Feldman Edition Seven – Three Clarinets, Cello and Piano (1971), Bass Clarinet and Percussion (1981) and Clarinet and String Quartet (1983) – all specialise in that much loved Feldman illusion: each piece psychologically stretches its actual playing time beyond all recognition. There is more than enough to hold your interest over repeated \/ extended plays here, and I assure you that after your first listen you’ll feel that far longer than seventy minutes have elapsed. Paradoxically, the short spacing between the pieces helps maintain this temporal mirage: a seemingly minute point perhaps, but worthy of comment. We’ve become accustomed to hearing extended breaks of programmed silence between Feldman pieces, and its refreshing to see a successful move in the opposite direction. You might be rightly sceptical, but once heard, there is no doubting the success of the choice as the three pieces pass into one another.<\/p>\n

The disc’s first piece Three Clarinets, Cello and Piano featured on the Barton Workshop’s Voices and Instruments CD (Mode 107): an earlier disc in the edition that unfortunately suffered somewhat from a rather dry recording. Here, along with Pierre Dutrieu and Olivier Voize (clarinets), Elena Andreyev (cello) and Vincent Leterme (piano), Carol Robinson’s performance is more engaging and ultimately more satisfying. Recorded in the manner we’ve come to expect of Mode, the listener can better grasp the dynamics of the piece here, and the interplay between instruments is sharp and defined as sounds cluster around one another. For those not familiar with the work, it’s interesting to note that the piece shares its date with Rothko Chapel and I Met Heine on the Rue F\u00fcrstenberg; both larger pieces of course, but if you enjoy these better known pieces, seek out Three Clarinets, Cello and Piano. It’s an interesting exercise to play it between them, and hear the same techniques and ideas used in a reduced setting: the lines from solo instruments making their way out across the expanse whilst still managing to curl up around one another. And although it’s a particularly ego-less piece, a special word should be given to Vincent Leterme for his performance. He gives an impressive account of the piano part, recalling, I feel, Feldman’s own playing with a touch equal in decisiveness and sensitivity.<\/p>\n

As Three Clarinets, Cello and Piano dies away, the disc jumps forward ten years in five seconds of silence and ‘Bass Clarinet and Percussion’ (1981) begins with a meandering, high-end line from the bass clarinet backed by a percussive shimmer. Even more than most Feldman pieces of the period, the sounds of Bass Clarinet and Percussion are other-worldly – oceanic perhaps – and although I’m no expert in such things, it’s clear that the clarinet line demands virtuosity, juxtaposing notes from the top and bottom ends of the instrument’s register. Peppie Wiersma’s percussion is more than equal to Robinson’s playing, however, and this fascinating seventeen-minute dialogue is, for this listener, the highlight of the disc. Colours and textures abound with characteristic Feldman shading, and similarly, the rhythmic play seems typical. Whilst the percussion remains steady in 3\/4, the clarinet weaves around it, highlighting and repeating sounds with a drawn-out ethereal resonance that complicates and splices the rhythm. Somewhat surprisingly given that this is late Feldman, I can imagine this piece would lend itself quite beautifully to choreography, and even more so than Three Clarinets, Cello and Piano, it stands as a wonderful example of how the ethos of Abstract Expression can be translated into sound.<\/p>\n

The disc’s final piece is the longest and Clarinet and String Quartet (1983) clocks in here at just over forty-two minutes. Some things are relative, of course, and the piece is short when compared to the other ‘and String Quartet’ pieces: ‘Piano and String Quartet’ (1985) and ‘Violin and String Quartet’ (1985). Certainly, Clarinet and String Quartet looks forward to these later works, but it is a fascinating piece in its own right, and if you’re a fan of these then this disc is a compulsory purchase. A working example of the composer’s dictate about the necessity of taking account of how an instrument actually sounds when writing for it, Clarinet and String Quartet is remarkable for the manner in which the soloist foils the quartet and vice versa. Indeed, one can easily hear something of a ‘crippled symmetry’ at the level of the sound itself: the similarities in tone being just enough to suggest difference and repetition. It is as if the listener is party to a morphing of instruments. Now in their seventh year, Quatuor Diotima play beautifully with Robinson, and as is the case throughout, you can’t fault the quality of the production, which is, incidentally, also Robinson’s work.<\/p>\n

The disc’s packaging continues Mode’s high standards and I continue to prefer their sleeve notes to the sometimes ‘too-arty’ accounts by Art Lange that accompany Hat Hut releases. Indeed, although Robinson’s own comments are a little technical, she successfully opens the way for a better hearing of the three pieces. To my mind, this disc is one of the highlights in Mode’s edition thus far, and that obviously makes the release simply essential.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Mike Silverton<\/strong>
\nLa Folia, Online Music Review
\nOctobre 2003<\/p>\n

Random Noise 2: Russia and the USA, Shostakovich and Feldman<\/p>\n

[\u2026] I\u2019ll cover two recent releases, both top-notch. The first, mode 119, Morton Feldman: ‘Late Works with Clarinet’, reminds us that Feldman (1926-1987) ranks among the 20th century\u2019s foremost sensualists. And of course provocateur, but of a different stripe. Parsimony and time comprise the man\u2019s goads. The music subverts via a serene – indeed dogged – unflappability touching upon a trance state.<\/p>\n

Mode\u2019s Morton Feldman: ‘Late Works with Clarinet’, with a wonderful soloist, Carol Robinson (clarinet and bass clarinet), features a ‘typical’ work, ‘Clarinet and String Quartet’ (1983), and two ‘atypical,’ ‘Three Clarinets, Cello and Piano’ (1971), and ‘Bass Clarinet and Percussion’ (1981). ‘Three Clarinets, Cello and Piano’, at a brief 9:33, partakes of Feldman\u2019s signature pace and calm, where resemblances to his later music end. It\u2019s remarkably beautiful stuff, as is the likewise unruffled Bass Clarinet and Percussion, wherein the hushed percussion, rather than participating as the harmonic counterweight we find in Feldman\u2019s lengthier efforts, furnishes a ravishing environment for its 17:30 duration. At 42:20, ‘Clarinet and String Quartet’ lofts us through an atmosphere peculiarly Feldman\u2019s. Like the violin of ‘Violin and String Quartet’, the clarinet operates in gentle opposition to the quartet. [\u2026]<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Jean Vermeil<\/strong>
\nR\u00e9pertoire n\u00b0 170
\nJuillet\/Ao\u00fbt 2003<\/p>\n

Son d’une profondeur magique.<\/p>\n

Le contexte de La Muse en Circuit d’Alfortville y est pour beaucoup<\/p>\n

Un Feldman \u00e0 la fran\u00e7aise, et enregistr\u00e9 en France, comme nous l’attendions ! La Suisse al\u00e9manique et l’Allemagne restaient jusqu’\u00e0 pr\u00e9sent la source principale, sinonunique, des concerts et des disques de l’ ‘\u00e9cole de New York’. Et m\u00eame dans la maison am\u00e9ricaine Mode, qui accomplit un pieux devoir patriotique, les bandes proviennent souvent de stations de radio germaniques. C’est notre faute, c’est tout.<\/p>\n

L’int\u00e9r\u00eat de ce regard fran\u00e7ais tient \u00e0 \u00e9prouver l’universalit\u00e9 de Feldman, dont nul ne doute certes, mais par l’oreille m\u00eame, c’est-\u00e0-dire \u00e0 la vivre. Que cet abord nous vienne avec un choix d’\u0153uvres ayant trait \u00e0 un instrument fran\u00e7ais, le petit clarin ou clarinette, ajoute \u00e0 ce charme. Car il s’agit, avec Feldman plus qu’avec tout autre, d’un ‘univers sonore’, mot de Schoenberg que cite Carol Robinson.<\/p>\n

Oublions les grilles (patterns), les tapis, les clusters (grappes) ou autres glissements de timbres, d’intensit\u00e9s ou de rythmes qui reviennent \u00e0 propos du titi new-yorkais… Nous voici envo\u00fbt\u00e9s par Three Clarinets, Cello and Piano (1971), que Feldman pr\u00e9sentait comme une ‘nature morte’, par Bass Clarinet and Percussion (1981) o\u00f9, sur un fond de percussion, ‘La ligne de clarinette basse traverse des d\u00e9compositions irrationnelles et d’incessants changements de m\u00e8tre’. Clarinet and String Quartet (1983) \u0153uvre longue et ma\u00eetresse, voit ses section ‘assembl\u00e9es’ pour atteindre cet inou\u00ef : ‘II n’y a pas de m\u00e9lodie et pourtant nous arrivons de temps \u00e0 autre \u00e0 la solennit\u00e9 ou m\u00eame l’all\u00e9gresse.’<\/p>\n

Cette joie tient \u00e0 la merveilleuse tendresse des interpr\u00e8tes, la clarinettiste am\u00e9ricaine mais bien (de) chez nous Carol Robinson, qui nous raconte un conte de f\u00e9es, plusieurs solistes gracieux et ce Quatuor Diotima sensible et fragile dans sa pr\u00e9cision [\u2026] C’est eux tous qui font la note bien fran\u00e7aise de ce disque, tendre, douce et orgueilleuse, qui apporte une nouvelle dimension \u00e0 Feldman (il l’aurait aim\u00e9e), en en attendant d’autres…<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Franck Mallet<\/strong>
\nLe Monde la musique n\u00b0279
\nSeptembre 2003<\/p>\n

D’une rare plasticit\u00e9, l’\u0153uvre de Morton Feldman plane ‘dans le silence comme si elle cherchait \u00e0 le rendre audible, presque toujours doucement, pour ne pas recouvrir le son du silence’ (Emstalbrecht Stiebler), car c’est aux fronti\u00e8res de l\u2019indicible que se dessine cette \u00e9coute rar\u00e9fi\u00e9e. Ce commentaire s’applique particuli\u00e8rement \u00e0 ‘Trois clarinettes, violoncelle et piano’ de 1971. Quelques clusters saillants, des crescendos qui s’\u00e9vanouissent : un temps suspendu pos\u00e9 sur une gamme infinie de nuances. Dix ans plus tard, avec Clarinette basse et percussion (1981), le souffle de l’instrument s’enroule autour de la cymbale pour une sonorit\u00e9 cotonneuse au rythme l\u00e2che. Pi\u00e8ce majeure des derni\u00e8res ann\u00e9es, Clarinette et quatuor \u00e0 cordes (1983), engage une conversation au ralenti o\u00f9 mots et accords feutr\u00e9s s’entrem\u00ealent au point que l’instrument \u00e0 vent se confond avec les cordes. Emmen\u00e9s par la clarinettiste Carol Robinson, qui a particip\u00e9 \u00e0 de nombreuses cr\u00e9ations, notamment de Giacinto Scelsi, les Fran\u00e7ais du Quatuor Diotima, le pianiste Vincent Leterme, les clarinettistes Pierre Dutrieu et Olivier Voize, la violoncelliste Elena Andreyev, ainsi que les percussionnistes Fran\u00e7oise Rivalland et Peppie Wiersma, trouvent les sonorit\u00e9s les plus d\u00e9licates pour cette musique arachn\u00e9enne.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Pierre Rigaudi\u00e8re<\/strong>
\nDiapason n\u00b0 506
\nSeptembre 2003<\/p>\n

Bien qu’elle repose pour une large part sur la r\u00e9p\u00e9tition, la musique de Feldman peut difficilement \u00eatre qualifi\u00e9e de r\u00e9p\u00e9titive; de la m\u00eame fa\u00e7on, si son mat\u00e9riau est souvent tr\u00e8s restreint, elle correspond bien peu \u00e0 l’id\u00e9e minimaliste; enfin, les proc\u00e9d\u00e9s combinatoires ne lui sont pas \u00e9trangers, et n\u00e9anmoins elle n’est tributaire d’aucun syst\u00e8me. Ces apparentes contradictions se dissolvent sur une surface musicale \u00e9tale, apparemment d\u00e9barrass\u00e9e de toute tension, o\u00f9 la dialectique formelle laisse place \u00e0 une succession de moments dont la coh\u00e9rence d’ensemble ne fait aucun doute.<\/p>\n

Le programme du septi\u00e8me volet de cette ‘Feldman Edition’ permet d’appr\u00e9hender une temporalit\u00e9 tr\u00e8s originale, susceptible d’entra\u00eener l’auditeur dans une \u00e9coute contemplative. On peut identifier dans ‘Three Clarinets, Cello and Piano’ (1971) les processus qui se conjuguent pour dessiner trois sections (gradation entre les attaques douces et les attaques franches, \u00e9mergence puis dissolution de deux segments chromatiques compl\u00e9mentaires) ainsi que les rep\u00e8res stables (r\u00e9currence d’une s\u00e9quence harmonique, r\u00e9p\u00e9titions de motifs). Le d\u00e9ploiement de ‘Bass Clarinet and Percussion’ (1981) repose quant \u00e0 lui sur la distinction, peu identifiable cette fois, de deux plans rythmiques qui ne se rejoignent qu’\u00e9pisodiquement, \u00e0 l’instar de la clarinette basse qui, selon le registre, se fond par intermitence dans le halo harmonique des percussions.<\/p>\n

C’est encore une construction tripartite qui sous-tend ‘Clarinet and String Quartet’ (1983), mais curieusement, la r\u00e9p\u00e9tition, pr\u00e9sente \u00e0 divers niveaux structurels, n’oblit\u00e8re pas une perception fluide du temps. Un motif chromatique de quatre notes, au fil de ses permutations et extensions, alimente une trame \u2013 la m\u00e9taphore textile prend ici tout son sens – largement h\u00e9t\u00e9rophonique. Le m\u00e9rite principal des interpr\u00e8tes, exempt\u00e9s de toute performance technique, est d’avoir su caler leur temps int\u00e9rieur sur celui des \u0153uvres, de nous permettre de nous installer dans l’apesanteur d’une dur\u00e9e abolie.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Brian Marley<\/strong>
\nThe Wire
\nNovembre 2003<\/p>\n

One of the characteristics of Morton Feldman\u2019s music is the way silences are thrown into stark relief. Each silence \u2013 freighted with memory, charged with expectation \u2013 becomes a unique presence in the music more than merely an absence of it. Though his silences are measured in units of time, they also contain an intimation of infinity. The music of the \u201cclassical\u201d tradition slows down, speeds up, lawyers and otherwise manipulates time. Of the other arts, only cinema plays with our temporal perception to a greater degree. But we\u2019ve come so accustomed to this happening that we hardly notice it. Feldman\u2019s music, especially that of his later years, more nearly approximates the quotidian time of which we\u2019re only fleetingly aware. If his music seems strange, it\u2019s not because it employs the temporal distortions to which we\u2019ve become accustomed but, on the contrary, because it doesn\u2019t.<\/p>\n

Feldman takes three slightly different approaches to time and silences in Late works with Clarinet. Either by luck or calculation, these roughly coincide with the major developments in his music. In Three Clarinets, Cello & Piano (1971), a piece that sums up the achievements of his early career, the sounds are freefloating and unpredictable, a series of seemingly random but beautifully configured musical events. Written a decade later, Bass Clarinet & Percussion has a chiming ritualistic quality; the music is episodic, slyly repetitious, simultaneously lulling and disruptive. By comparison, Clarinet & String Quartet (1983), although nakedly repetitious, employs the subtle thwarting of expectation that is so typical of the compositions of Feldman\u2019s last five years. Here silence is woven through the sounds, creating a flexible, airy matrix. Clarinettist Carol Robinson, the Quatuor Diotima, and the other instrumentalists involved in this production have avoided one of the bugbears of recent Feldman performances: Mozartisation, where the sheer sonic beauty of a work is over-emphasized, and insufficient attention is paid to the other aspects. But throughout Late works with Clarinet things are just as they should be.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Brian Olewnick<\/strong>
\nThe Squid’s Ear<\/p>\n

The mere thought of Feldman and the clarinet is enough to send shivers of anticipation down one\u2019s spine, so Late Works with Clarinet was an eagerly awaited release. Three pieces featuring Carol Robinson on the sultry reed are offered, beginning with \u201cThree Clarinets, Cello and Piano.\u201d The 1971 work hails from that intermediate moment in Feldman\u2019s career when his earlier sparse purity was beginning to give way to a relatively sensual minimalism. It\u2019s a short piece by his standards, less than ten minutes, but contains an expansively breathlike quality, the three clarinets in near unison wash against the cello and piano, sometimes reaching surprisingly loud and emotional points. If the clarinet causes one\u2019s whistle to whet, the idea of Feldman composing for bass clarinet might lead to uncontrollable drooling. The deep, woody tones of the instrument would seem to be a perfect match for Feldman\u2019s soft, profound ruminations. \u201cBass Clarinet and Percussion\u201d (1981) is a darkly gorgeous piece, rich and mysterious, in its odd way extremely romantic. The percussion (largely tympani and gongs) lays out loose patterns in one implied rhythm, the bass clarinet (often played in its higher ranges) slightly off-rhythm, creating a floating sense of serendipitously interlocking paths. In some ways, it\u2019s everything a late Gavin Bryars should be but never quite is. The disc closes with the lengthy (42 minutes) \u201cClarinet and String Quartet\u201d from 1983, wherein the action maintains a surface similarity \u2014 the reed playing four and five note patterns over breathing string harmonics \u2014 but, of course, the reality is consistently changing, each phrase subtly different from the last like the adjoining weaves in the Turkish carpets Feldman so admired. The piece continues on almost granularly, each moment relating only to its immediate predecessor and descendent, beautiful molecules drifting off into the ether. Late Works with Clarinet is a lovely recording, a must for all Feldman admirers.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Stefano Russomanno<\/strong>
\nRetazos De Suavidad<\/p>\n

La atracci\u00f3n de Feldman por el clarinete se intensifica en el \u00faltimo tramo de suvida. No es el suyo el primer caso. Antes, les hab\u00eda pasado tambi\u00e9n a otros compositores: Mozart, Brahms, Reger… Las razones de esa predilecci\u00f3n tal vez residan en el timbre oto\u00f1al y pastoso del instrumento, anunciador de una suavidad c\u00e1lida y amorosa al mismo tiempo. Ya en el ext\u00e1tico y excelente Three Clarinetes, Cello and Piano, de 1971, los tres clarinetes son los protagonistas de una naturaleza muerta instrumental de suav\u00edsima y entra\u00f1able factura, al borde del estatismo e impregnada de tonalidades rosadas. Bass Clarinet and Percussion, de 1981, sigue coordenadas parecidas, con sonoridades infiltradas por el silencio, que en la parte central alcanzan una contenida (aunque ilusoria) movilidad. Clarinet and String Quartet, de 1983, es una de las cumbres del \u00faltimo Feldman. Aqu\u00ed el compositor se mide con una plantilla dotada de cierta tradici\u00f3n: el quinteto con clarinete. M\u00e1s que evitados, los cl\u00e1sicos antecedentes de Mozart y Brahms parecen aqu\u00ed transcendidos en los lentos movimientos repetidos en espiral, despojados de toda c\u00e1scara material y convertidos en puros retazos de dulzura. Enfrentado a las cosas \u00faltimas, el compositor americano propone a sus oyentes una m\u00fasica ni antigua ni moderna, sedosa e intemporal. La clarinetista Carol Robinson posee la delicadeza, la pulcritud y la paciencia que estas p\u00e1ginas requieren. M\u00e1gico y exigente.<\/p>\n

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