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great hall at goldsmiths college 8 lewisham way london se14 6nw walking distance from new cross and new cross gate stations feldman trios box set a 6 cd box set of morton feldman s three long pieces for flute piano and percussion played by the gbsr duo siwan rhys george barton with taylor maclennan on flutes why patterns 1979 30 minutes crippled symmetry 1982 90 minutes for philip guston 1984 280 minutes six and a half hours of great music beautifully played more information including an excellent interview with the musicians and a couple of great early reviews here and you can listen to a taster here add to cart 42 other morton feldman cds at144x5 morton feldman piano philip thomas disc one 1 4 last pieces 1959 5 piano 1977 6 palais de mari 1986 at144x5 morton feldman piano philip thomas 5 cd box set with a 52 page booklet containing virtually all of feldman s works for solo piano played by philip thomas extract 1 intermission 5 extract 2 extensions 3 extract 3 music for the film lipton extract 4 triadic memories at81 x 2 morton feldman two pianos disc one at81 x 2 morton feldman two pianos double cd of compositions for two or more pianos played by john tilbury philip thomas extract two pianos extract false relationships and the extended ending at212x2 morton feldman violin and string quartet double cd of a 140 minute work dating from two years before feldman s death in 1987 at212x2 morton feldman violin and string quartet double cd played by apartment house extract at182 morton feldman string quartet and piano piano and string quartet 1985 79 50 at182 morton feldman string quartet and piano 80 minute work from 1985 played by apartment house extract at113 morton feldman piano violin viola cello mark knoop piano aisha orazbayeva violin at113 morton feldman piano violin viola cello feldman s last work played by apartment house extract at241 morton feldman intermission 6 antti tolvi piano interview with antti tolvi how did the intermission 6 project come about and have you played any of feldman s music before feldman s music has had this weird draw for me for a long time i m not sure why that is but i just can t get enough of it some years ago i got my hands on the wonderful philip thomas 5 cd feldman piano box set on another timbre and i ve listened to it a lot i started getting more and more interested in this piece intermission 6 of which three different recordings in the box set it s the piece which has the most silence in it and silence has been one thing in which i ve been very much interested so i went and found the score of the piece and i was fascinated by it as i m not a classically trained pianist i was really happy that one of my favourite pieces of feldman was something i could pretty easily play myself then i tried to find longer recordings of this piece but there only seemed to be quite short recordings of it so i decided to start to study and practice the piece and finally had the idea of making a long duration recording of it so over about two years i slowly got to know and to really get into this piece and finally one day actually after a nice two week holiday around turkey and then one week in finland s archipelago i made a two hour recording of this piece and here we are so no i haven t played myself feldman s music before but i have played a lot of music by and with some wandelweiser composers werder houben thut beuger and i can see how some of their ideas come from the same river as feldman s ideas that s interesting when you sent me the recording i could tell that you weren t a classically trained pianist but equally that you weren t just dabbling in the music but must have spent a lot of time with it because you d really got inside the piece there s an affection and a care and attention in your performance which is compelling and convincing i asked you to record a version that would fit on a single cd and as you say here we are listening to it recently it struck me that i should have added a note on the cover saying that the music is intended to be very quiet throughout so should be played back at a low level with the quietist sounds on the edge of audibility otherwise there s a temptation to play the disc at a high volume so that the louder notes and chords ring out but that s clearly not what feldman intended in other interpretations i ve heard the piece lasts between 3 and 12 minutes how difficult was it over the unusually extended duration to keep to the low dynamic that feldman asks for was it an exacting and exhausting experience or did you enjoy it yes i agree the cd and the whole piece shouldn t be played too loud but i also think that in general people who choose to listen feldman don t turn the volume up very loud right away so i m not so worried about that and i have to say that the grand piano i used in the recording would definitely need making more sensitive to the pianist s touch in most contexts it was sometimes very very hard to make quiet sounds with this piano the notes sometimes almost exploded out no matter how gently i pressed the key but i found this interesting it gave the piece more depth different levels and liveness it was pretty random when the piano decided to be a bit louder and when not and if i have understood right feldman composed his piano music on his particular instrument which shaped the way his compositions unfolded so for me this performance still stays nicely in line with what s there at the centre of his pieces some freedom and some kind of randomness and this randomness really starts to increase if you play a longer version of this piece it can suddenly take you somewhere you haven t had any idea that it would take you and then suddenly it throws you back where you just came or maybe somewhere completely new a bit of a weird place so this piece somehow keeps again and again recreating itself i remember when i did my first long recordings of the piece i was thinking that ok i will play first for let s say 40 minutes and then i ll see how it is 40 minutes came easily like no problem and i was enjoying a lot so i continued somewhere maybe around 70 minutes i thought is this good now but then well somehow the piece just took me to some new dimension or something and it felt that the music was always going somewhere new and not repeating itself at all after about 2 hours i just thought wow maybe this is good now after 2 hours of playing and listening yes it s certainly a long time but yes i think it wouldn t make any sense to play a long version of this piece if it ended up repeating itself but somehow these chords and notes are chosen with such genius that they remain varied and keep taking you new places for a very long time of course you also me need to practice some patience to work with this kind of music can you tell us a bit about your musical background well first i have to say that i haven t done any official western musical studies but i have played experimental music my whole life in the mid 90 s i started to do my own experimental music punkish and from there slowly entered the world of free jazz and improvised music in the early 2000 s we set up our first free jazz quartet rauhan orkesteri where i played sax and clarinet in finland there was maybe a small gap or a lack of activity in the free music field so there was plenty of space to do something i we were part of this group of friends a loose collective called forest folk we didn t give ourselves that name but the wire magazine started calling what we did forest folk so that s what we were called so in the 2000 s we had many tours and concerts around europe and the us mostly in the experimental underground scene which funnily enough is pretty much the same as what there is in the punk scene there s always someone almost anywhere in the world who s willing to book you a show and take care of you with so little money involved music can be very communal as we all know so at the time of forest folk i was at the point of life where people usually go to art school and or continue their studies but my partner and i decided to move with to the countryside kemiö island and there my music started to take a new direction towards solo works minimalism drones sound installations long durations more like performance art and so on and one thing i have to say that when i was really into free jazz and improv stuff i was also very much in to north indian classical music one winter i even travelled to varanasi to study sitar for a few months and actually it was through dhrupad a style in indian classical music that i found the music of american minimalists la monte young terry riley and so on since then i ve listened a lot north indian classical music still almost every single day i have also tried playing it but always come to the conclusion that if i really want to play this music it would be pretty impossible to do anything else nowadays i spend most of my time with my new compositions performances and sound installations lately i ve been very interested in duration i just played live this new 17 4 day composition for piano and pause the piece starts with one hour of written piano music then there is a 17 day pause and then another hour of piano music i m pretty interested about what happens when a piece turns into an installation and whether it is still a concert for example if i played an 8 hour version of intermission 6 would it be concert or an installation where you can enter and leave as you like also with my friend performance artist olga spyropoulou we just did a duo piece riittää enough in tehdas theatre in turku finland in this piece the audience votes from time to time is this enough and when they all vote that it is enough the piece ends otherwise we continue you point out that finland hasn t had a huge experimental music scene compared with say norway or sweden or other similar countries looking from outside this seems to have started to change but why do you think experimental music has remained so marginal at241 morton feldman intermission 6 antti tolvi piano a realisation of feldman s piano piece extended to 72 minutes extract 1 morton feldman intermission 6 72 00 recent releases at250 jakob ullmann solo i solo iv jon heilbron rebecca lane solo i 1992 93 2010 for flute at250 jakob ullmann solo i solo iv jon heilbron rebecca lane simultaneous realisation for instruments playback extract at249 jürg frey je laisse à la nuit son poids d ombre je laisse à la nuit son poids d ombre 2019 2020 52 07 at249 jürg frey je laisse à la nuit son poids d ombre 52 minute work for an ensemble of 10 players extract at248 santiago diez fischer songs gyre ensemble 1 and your mouth is like the sound of many waters 2024 9 32 at248 santiago diez fischer songs gyre ensemble a series of five works written for and played by gyre ensemble extract at247 marja ahti visiting cloud two translations blutwurst 1 chora 2019 2024 21 28 2 fluctuating streams 2020 2024 19 48 blutwurst cristina abati viola marco baldini trumpet maurizio costantini double bass daniela fantechi accordion michele lanzini cello edoardo ricci bass clarinet luisa santacesaria harmonium recorded and mixed by francesco toninelli interview with marja ahti first of all could you explain how this project came about was it your initiative or blutwurst s at247 marja ahti visiting cloud two translations blutwurst realisations for acoustic ensemble of two electro acoustic works extract low stock at246 eldritch priest dead wall reveries 1 dust breeding 2023 25 56 string quartet played by apartment house at246 eldritch priest dead wall reveries 3 chamber works by the canadian composer extracts at245 magnus granberg the willow bends and so do i an hour long ensemble piece from 2024 recorded in stockholm at245 magnus granberg the willow bends and so do i ensemble work for 9 musicians played by skogen extract low stock at244 julia eckhardt blanca notes on blanca by julia eckhardt in november 2022 i spent a month as an artist in residency at centro negra in the small town of blanca in the south east of spain i undertook a daily protocol of walking without plan or destination which took me into the wide majestic and slightly intimidating hills outside the town each day after a set amount of time i stopped to make a field recording and a detail photo and upon my return to centro negra recorded an improvisation on the viola echoing the energy of that accidental place recording image and improvisation became three ways of creating imprints of memory improvising felt similar to walking into the unknown adventurous and slightly fearful at the same time with the wind in the wide and karstic landscape unhampered by the sparse vegetation being a constant presence eight of these improvisations became the compositions on this release in which the wind patterns of blanca are a guiding presence at244 julia eckhardt blanca a cycle of 8 compositions for solo viola based on walks in rural spain extracts at243 bach tunings marc sabat js bach sara cubarsi xenia gogu violins at243 bach tunings marc sabat js bach sara cubarsi xenia gogu violins arrangements of bach s violin sonatas for two violins in just intonation tunings with three introductory works by marc sabat extracts at242 james opstad drift 1 nymphaea 2020 13 48 gbsr duo siwan rhys piano george barton vibraphone 2 study 2 2019 7 04 apartment house mira benjamin gordon mackay violins bridget carey viola anton lukoszevieze cello at242 james opstad drift five chamber works played by the gbsr duo heather roche apartment house extracts at173 catherine lamb muto infinitas catherine lamb commentary on muto infinitas by rebecca lane i have been slowly working on muto infinitas for 5 years and it charts a large part of the development of my personal and musical life with cat lamb and a personal practice in playing extended just intonation or as cat would prefer to say rational intonation jon heilbron and i consider this piece to be a work in progress so it is in this spirit that we offer the recording at173 catherine lamb muto infinitas second cd pressing available as a cd again extended composition from 2016 2018 for quartertone flute double bass played by rebecca lane jon heilbron extract box sets our best selling releases at251x6 morton feldman trios box set gbsr duo with taylor maclennan 1 why patterns 1978 29 55 at251x6 morton feldman trios box set gbsr duo with taylor maclennan 6 cd box set with three long works for flute piano percussion view trailer add to cart sold out at144x5 morton feldman piano philip thomas disc one 1 4 last pieces 1959 5 piano 1977 6 palais de mari 1986 at144x5 morton feldman piano philip thomas 5 cd box set with a 52 page booklet containing virtually all of feldman s works for solo piano played by philip thomas extract 1 intermission 5 extract 2 extensions 3 extract 3 music for the film lipton extract 4 triadic memories add to cart sold out at178x4 john cage number pieces apartment house realise all...