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MFOM 131: Feb 1 and 4 :: Piano
John Luther Adams: Red Arc/Blue Veil
Stephen Drury and Yukiko Takagi, pianos; Scott Deal and Stuart Gerber, percussion
Cold Blue CB0026 (2007)
Red Arc/Blue Veil (2001) is the first piece in a projected cycle exploring the geometry of time and color—what Kandinsky called "those inner sounds that are the life of the colors". J L Adams
Giacinto Scelsi: Quattro Illustrazioni sulle metamorfosi di Vishnu (1953)
Fabrizio Ottaviucci, pno. Stradivarius STR 33801 (2007)
"The first illustration is fluid and hypnotic and is intended to represent the thousand-headed cosmic snake entwined around the head of Vishu; the second is very energetic and dynamic and represents Vishnu incarnated as a boar seeking the origins of life in the depts of the earth; the third is elegant and seductive and illustrates King Rama who ruled over a kingdom of great splendour in ancient times; the fourth is transcendental and represents Krishna the boy king." G. Scelsi
Morton Feldman: Palais de Mari (1986); Piano Piece for Philip Guston (1963)
Marianne Schroeder, pno. Hat Now CD6035 (1990) Hat Hut Records (Switzerland)
"I am reminded of an observation Feldman made a few months prior to the composing of Palais de Mari, when he had been visiting the Metropolitan Museum in New York and had by chance come upon a late work by Degas. He was admiring the work expressly for the thinness in the application of the paint to the canvas, and remarked that he wished to work in a similar way in his own music." Barbara Monk Feldman
MFOM 131: Feb 1 and 4 :: Piano
John Luther Adams: Red Arc/Blue Veil
Stephen Drury and Yukiko Takagi, pianos; Scott Deal and Stuart Gerber, percussion
Cold Blue CB0026 (2007)
Red Arc/Blue Veil (2001) is the first piece in a projected cycle exploring the geometry of time and color—what Kandinsky called "those inner sounds that are the life of the colors". J L Adams
Giacinto Scelsi: Quattro Illustrazioni sulle metamorfosi di Vishnu (1953)
Fabrizio Ottaviucci, pno. Stradivarius STR 33801 (2007)
"The first illustration is fluid and hypnotic and is intended to represent the thousand-headed cosmic snake entwined around the head of Vishu; the second is very energetic and dynamic and represents Vishnu incarnated as a boar seeking the origins of life in the depts of the earth; the third is elegant and seductive and illustrates King Rama who ruled over a kingdom of great splendour in ancient times; the fourth is transcendental and represents Krishna the boy king." G. Scelsi
Morton Feldman: Palais de Mari (1986); Piano Piece for Philip Guston (1963)
Marianne Schroeder, pno. Hat Now CD6035 (1990) Hat Hut Records (Switzerland)
"I am reminded of an observation Feldman made a few months prior to the composing of Palais de Mari, when he had been visiting the Metropolitan Museum in New York and had by chance come upon a late work by Degas. He was admiring the work expressly for the thinness in the application of the paint to the canvas, and remarked that he wished to work in a similar way in his own music." Barbara Monk Feldman