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  1. Crippled Symmetry was one of Morton Feldman's late works; he wrote it in 1983, just four years before his death. At this point in his career as a composer, Feldman was interested in music that existed over long timespans… or perhaps it is more accurate to say that he was interested in musical material and instrumental combinations that required long timespans in order to come to fruition.

  2. 1 de nov. de 2007 · Morton Feldman Says is a welcome addition to the growing number of publications on this important composer. Feldman's music has attracted increased attenti. Skip to Main Content. ... (‘Crippled Symmetry’, Res, 2 (Autumn 1981), 101). How useful will this book be for scholars?

  3. Definitive performance of an 88-minute piece for trio written in 1983, recorded in 2000. "In 2000, Eberhard Blum (flute, alto flute, bass flute), Nils Vigeland (glockenspiel, vibraphone) and Jan Williams (piano, celesta), Morton Feldman’s close friends and collaborators, came together once more as “The Feldman Soloists” to perform Crippled Symmetry, the trio Feldman composed for them, on ...

  4. 14 de ene. de 2023 · Give my regards to Eighth Street : collected writings of Morton Feldman Bookreader Item Preview

  5. Piano, Violin, Viola, Cello. Morton Feldman - John Snijders, Josje ter Haar, Ruben Sanderse, Job ter Haar. For Bunita Marcus. Morton Feldman - Hildegard Kleeb. Explore the tracklist, credits, statistics, and more for Why Patterns? / Crippled Symmetry by Morton Feldman. Compare versions and buy on Discogs.

  6. Crippled Symmetry. "With Feldman, composing more and more takes on the nature of writing a diary; he weaves and knots his sounds like the Turkish nomads make their carpets, the ones he admires so much for their asymmetrical deviations in pattern." (Ulrich Dibelius) It is just these deviations from the standard, that which is slightly shifted ...

  7. Morton Feldman Projekt. Crippled Symmetrie „Das Komponieren nimmt ja bei Feldman überhaupt immer stärker Tagebuchcharakter an; er webt und knüpft seine Klänge wie die türkischen Nomaden ihre Teppiche herstellen, die er wegen ihrer asymmetrischen Musterabweichungen so liebt.“ (Ulrich Dibelius)