The Late Music of Morton Feldman

Morton Feldman

From the University of Pittsburgh, a Feldman Symposium:

The late music of Morton Feldman: A symposium

November 4, 2011
Presented by Pitt’s Department of Music and its contemporary chamber music series, Music on the Edge
Funded by the Arts and Sciences Faculty Research and Scholarship Program.
Organized by Amy Williams, Assistant Professor of Composition/Theory

The works of Morton Feldman (1926-1987) occupy a central place in the American experimental tradition, not just within the music world. Feldman was very often inspired by non-musical sources, including Persian rugs, abstract expressionist paintings by Mark Rothko, Willem de Kooning and Philip Guston, and texts of Samuel Beckett, John Ashbery and Frank O’Hara. Kyle Gann remarked that, “in the current Babel of musical styles, Feldman is almost the only composer whose music appeals across stylistic boundaries, among minimalists, postserialists, 12-tone holdouts, electronic composers, academics, Downtowners, MAX programmers, DJ artists, and other miscellaneous wastrels.” Why does this music have such a broad appeal? This is one of the questions that will be explored during the one-day symposium on Feldman’s late music. The first session will include scholars whose research places Feldman within a larger historical context. The second session will call upon performers and composers who worked intimately with Feldman in the 1970s and 1980s. The symposium will be framed by two concerts presenting two late chamber pieces, Patterns in a Chromatic Field and Crippled Symmetry.

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Classical Music Listings From The New York Times

From the

Ethel (Tuesday) The inventive, experimental string quartet Ethel devotes an evening at the Stone to “Dream House,” a multimedia work by Mary Ellen Childs that explores, among other things, the relationship between creation and destruction. At 8 p.m.. the Stone, Avenue C and Second Street, East Village,; $10. (Kozinn)

Sonic (Friday through Oct. 22) The American Composers Orchestra kicks off this new nine-day festival of fresh works by composers ages 40 and under at Zankel Hall on Friday evening. On Saturday, Eighth Blackbird makes its first New York appearance with Yvonne Lam, its new violinist and violist, at the Miller Theater. The JACK Quartet oversees a 12-hour marathon concert at Miller on Sunday; Either/Or performs there on Monday. The flurry continues elsewhere with Camerata Aberta (Tuesday); Ensemble Klang (Wednesday); and the International Contemporary Ensemble (Thursday); with after-hours concerts by other performers on those nights. Pshew. For a complete tally of places, times and prices, see A pass is available to reduce all admission costs. (Smith)

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Jazz Listings From The New York Times

Peter Apfelbaum live at Saalfelden 2009
Image via Wikipedia


Steven Bernstein’s Millennial Territory Orchestra (Friday) Last month there came troubling news that Sly Stone, funk’s pied piper, was basically homeless, living out of a van. One wonders what kind of pall that revelation will cast on this show, featuring the trumpeter Steven Bernstein and his Millennial Territory Orchestra, playing music from a new release, “MTO Plays Sly” (Royal Potato Family). Conceived in a spirit of deep affection and crowded with guest vocalists, it’s an album with an ethos somewhere between “Que Sera Sera” and “You Can Make It if You Try.” At 9 p.m., 92YTriBeCa, 200 Hudson Street, at Canal Street, (212) 601-1000,; $18. (Chinen)

Mary Halvorson (Friday and Saturday) Ms. Halvorson, a bright and constitutionally restless guitarist, has recently been working fruitfully with a quintet, drawing on aspects of postbop tradition. She does that here on Friday, previewing material from a forthcoming album, before adding two more members to the ensemble: the tenor saxophonist Ingrid Laubrock and the trombonist Jacob Garchik. On Saturday it’s an entirely different proposition, as Ms. Halvorson and the violist Jessica Pavone engage in duologue, playing and singing their prickly art-folk songs. At 8 p.m., the Stone, Avenue C and Second Street, East Village,; $10. (Chinen)

Jacob Fred Jazz Odyssey (Tuesday and Wednesday) This shrewdly inclusive outfit — part jam band, part jazz group, increasingly set apart by Chris Combs’s playing on lap steel guitar — recently released “The Race Riot Suite” (Kinnara/Royal Potato Family), a laudably ambitious effort to address a notorious series of events in the band’s hometown, Tulsa, Okla., in 1921. The album’s vibrant eclecticism should come off well in person, with an auxiliary horn section featuring Peter Apfelbaum and Mark Southerland on saxophones and Steven Bernstein on trumpet. At 7:30 and 9:30 p.m., Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232,; $20. (Chinen)

? Tyshawn Sorey’s Oblique (Friday) A spectacular young drummer on jazz’s leading edge, Mr. Sorey has proved himself a serious new-music composer besides, sometimes to the point of cerebral severity. But “Oblique — 1,” just out on Pi, is a riveting album, with compositions custom-designed for the same musicians found here: the alto saxophonist Loren Stillman, the guitarist Todd Neufeld and the bassist Chris Tordini. At 9 and 10:30 p.m., Jazz Gallery, 290 Hudson Street, at Spring Street, South Village, (212) 242-1063,; $20, or $10 for members. (Chinen)

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