| | Feldman: Durations 1-V, Coptic Light / Morgan, Et Al CD Feldman, Morton CDS
 (1 Customer Review)
Feldman: Durations 1-V, Coptic Light / Morgan, Et Al Music | List Price | $16.99 (You save $4.24) | | Label | CPO | | Orig Year | 2/4/1997 | | All Time Sales Rank |  3468  | | CD Universe Part number | 1068897 | | Catalog number | 999189 | | Discs | 1 | | Release Date | Feb 04, 1997 | | Recording Time | 1 4 |
Feldman: Durations 1-V, Coptic Light / Morgan, Et Al Classical Review Feldman: Durations 1-V, Coptic Light / Morgan, Et Al Songs | 1. Durations 1, for alto flute, piano, violin & cello (10:49) | | Composer | Morton Feldman (1926 - 1987) | | Date Written | 1960 | | Ensemble | Ensemble Avantgarde | | Venue | Saarbrücken | | Notes | Saarbrücken (09/14/1994-09/15/1994) | | 2. Durations 2, for cello & piano (4:33) | | Composer | Morton Feldman (1926 - 1987) | | Performer | Josef Christof (Piano)
Matthias Moosdorf (Cello) | | Date Written | 1960 | | Country | United States of America | | Venue | Saarbrücken | | Notes | Saarbrücken (09/14/1994-09/15/1994) | | 3. Durations 3, for tuba, violin & piano (11:33) | | Composer | Morton Feldman (1926 - 1987) | | Performer | Josef Christof (Piano)
Andreas Seidel (Violin)
Bernd Angerhofer (Tuba) | | Date Written | 1961 | | Venue | Saarbrücken | | Notes | Saarbrücken (09/14/1994-09/15/1994) | | 4. Durations 4, for violin, cello & vibraphone (3:49) | | Composer | Morton Feldman (1926 - 1987) | | Performer | Matthias Moosdorf (Cello)
Andreas Seidel (Violin)
Stefan Stopora (Vibraphone) | | Date Written | 1961 | | Venue | Saarbrücken | | Notes | Saarbrücken (09/14/1994-09/15/1994) | | 5. Durations 5, for violin, cello, horn, vibraphone, harp & piano/celeste (9:27) | | Composer | Morton Feldman (1926 - 1987) | | Date Written | 1961 | | Ensemble | Ensemble Avantgarde | | Country | United States of America | | Venue | Saarbrücken | | Notes | Saarbrücken (09/14/1994-09/15/1994) | | 6. Coptic Light, for orchestra (23:51) | | Composer | Morton Feldman (1926 - 1987) | | Conductor | Michael Morgan | | Date Written | 1985 | | Country | United States of America | | Venue | Groáer Sendesaal | | Recording Date | 01/1992 |
Feldman: Durations 1-V, Coptic Light / Morgan, Et Al Music Composers on Feldman: Durations 1-V, Coptic Light / Morgan, Et Al CD : Morton Feldman Conductors on Feldman: Durations 1-V, Coptic Light / Morgan, Et Al CD : Michael Morgan Ensembles on Feldman: Durations 1-V, Coptic Light / Morgan, Et Al CD : Ensemble Avantgarde Performers on Feldman: Durations 1-V, Coptic Light / Morgan, Et Al CD : Andreas Seidel, Bernd Angerhofer, Josef Christof, Matthias Moosdorf, Stefan Stopora Purchase Feldman: Durations 1-V, Coptic Light / Morgan, Et Al To buy, Click on price to add to cart | Morton Feldman Feldman: Rothko Chapel, Why Patterns? CD (1992)
Feldman: Durations 1-V, Coptic Light / Morgan, Et Al
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Feldman: Durations 1-V, Coptic Light / Morgan, Et Al
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CHICAGO II remains a classic album, encapsulating its time (1969) in all its tumult and glory. The Vietnam War (and the civil unrest it inspired) was still raging, the counterculture dream had not yet crashed and burned, and rock music could be taken seriously as an "art form" while still generating radio hits. Chicago, with their then-new fusion of jazz, rock, and pop, rose high on the charts, while taken seriously both in and beyond the rock-critic establishment. (Some jazz listeners respected and enjoyed Chicago as well.) Their approach had a freshness and vibrancy--"25 Or 6 To 4" was surging, dramatic, and slightly ominous; "Fancy Colours" and "Make Me Smile" were full of soulful optimism; a four-movement suite showed the band had ambition beyond the three- or four-minute pop song. To paraphrase one of Chicago's song titles, it was only the beginning.
In some ways the first real Chicago album (1969's self-titled CHICAGO TRANSIT AUTHORITY had, in addition to the longer band name, a harder and somewhat more experimental sound), 1970's CHICAGO II is fairly progressive and jazzy, especially in comparison to the straight pop records the ensemble would be making in only a few short years. The album, originally a double-disc record on vinyl, is composed as four side-length suites of interconnected songs, a conceit that works better here than it often can, not least because CHICAGO II includes some of the group's best material. In particular, the hits "Make Me Smile" and "25 or 6 to 4" (incidentally, author Robert Lamm finally cleared up the mystery ...
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Feldman: Durations 1-V, Coptic Light / Morgan, Et Al
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Feldman: Durations 1-V, Coptic Light / Morgan, Et Al
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Feldman: Durations 1-V, Coptic Light / Morgan, Et Al
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There is an entire universe contained in this box. Sumptuously packaged and scrupulously annotated, CELLAR DOOR SESSIONS 1970 is a six-disc set that documents Miles Davis's extended residency at the Washington, D.C., club. Davis is backed by a group of genius musicians: keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson, saxophonist Gary Bartz, percussionist Airto Moreira and guitarist John McLaughlin (who appears only on the last two discs). Together they pioneered an ecstatic fusion of jazz, rock, funk, and abstract sound-painting that established the blueprint for the future of progressive music.
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Often forgotten when classic progressive rock is remembered, Le Orme was one of the biggest European groups to be making this kind of music. Hailing from Italy, this four piece wrote extended tracks that were more energetic and peppy than most of their British contemporaries. Tracks like "In Ottobre" were fast-paced and interesting, mostly because they never seemed to needlessly noodle around. That song is featured here, along with seven others. This album represents a creative highpoint for the band, for they would soon fall out of favor as they began to run out of ideas and the genre was practically wiped out by the emerging punk, disco, and heavy metal scenes. But here, Le Orme still had some gas, and they flaunt their skill all over the album. The title track may be the standout; it is a beautiful ballad that features a haunting vocal from Aldo Tagliapietra and some gorgeous production. "Vedi Amsterdam..." is a Deep Purple-style rave up that benefits from the bizarre timing of the playing and a memorable vocal line. "Regina al Troubadour" is psychedelic rocker that predates the sound of '80s groups like the Church and Dream Academy. And "Radiofelicità" is a wide-eyed rocker ...
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