Morton Feldman Beckett Material WER 73252
Morton Feldman is not a composer for those in a hurry. His works, especially towards the end of his life, unfold at a glacial pace with much repetition and extensive use of silence. And yet, if you are in the right frame of mind, they can be transporting. I discovered this in 2014 when I experienced a mesmerising performance of his 70-minute For Bunita Marcus at >reinhören in Basel.
The three works on this new disk from WERGO were written from April to July 1976 and grew out of a commission for the opera Neither based on a text by Samuel Beckett. They were meant to be preparatory sketches, though in the end none of the material found its way into the opera. Whilst not composed on the scale of Bunita – they are 17, 19 an 8 minutes each – they do share the a similar spareness of texture. This is apparent in Orchestra, which consists of a gesture here, an idea there, a period of silence then a sudden outburst. Elemental Procedures has a much greater emphasis on melodic writing and accompaniment, with the inclusion of a soprano soloist and choir. The result is a little more sumptuous, but only a little. Routine Investigations is more pared down still, being for only six instruments. Though it’s brittle argument takes place over a much shorter span, the pace of development remains slow.
If you are unfamiliar with Feldman I would hesitate to recommend this disk as a starting point. Even though it is longer, the densely interwoven textures of his final orchestra work, Coptic Light (1986), are more immediately compelling. For those with a little more familiarity, they make a good stepping-stone to his most epic pieces such as For Philip Guston and String Quartet II (each lasting over three hours). As in all Feldman you will need to be in the zone to appreciate the slow rate of change. They are like the test cricket of classical music – the action is spaced-out, apparently inconsequential. To the newcomer it is baffling; to those in the know, compelling.
Even though I haven’t been able to get hold of a copy yet, I also urge you to seek out a debut double-disk set by Russian composer Marina Khorkova, also on WERGO. I had the pleasure of meeting Marina in Switzerland a couple of years ago. She sat me down with an excellent pair of headphones and picked out a few of her pieces to listen to. I was immensely impressed by what I heard, especially her ability to think of ways of eliciting new sounds from traditional instruments. Good examples of this are her Installationen I and Installationen II for organ (2012), still available at her Soundcloud page. For these pieces she spent weeks working on one instrument, experimenting with unusual combinations and settings (for example using stops pulled out by 1/3, 2,3 or full). The results, especially in Installationen II, are compelling. You can learn more about Marina’s work in an interview she did for CT shortly after our meeting.
Other recent releases
For fear of toadying, I refuse to review the disk Gumboots on Signum Classics by CT’s very own David Bruce. I will tentatively say, however, that I found it most enjoyable… Go and listen for yourself – it’s available for digital download and streaming on Spotify and Apple Music.
Aside from the Khorhova and Feldman there are three other new disks out on Wergo. Improvisation Ajountée contains works for organ by Maurice Kagel; there is a new recording of Pēteris Vasks’ String Quartets 1, 3 and 4 played by Spīķeru String Quartet; and first recordings of chamber works by Balz Truempy. NMC have just released Colin Matthews’ violin and cello concertos and a collection of chamber music by Mark Simpson. They are also continuing their Sinfonietta Shorts project with Francisco Coll’s Hyperlude IV and Matt Rogers’ Orac. On Divine Art there are two very different collections of song setting: one by Philip Wood, the other by Michael Finnissy. Both are available for streaming. There is also a collection of choral music by Lydia Kakabadse and a programme of Miniaturised Concertos by a selection of contemporary composers. On Naxos, finally, are recordings of choral music by John Rutter, Randall Thompson’s Requiem, Xia Guan’s Symphony No. 2 and a selection of orchestral music by a man better known for his writing, Anthony Burgess.
View playlists of this month’s releases