There's always been a crossover appeal among avant, jazz artists with renegade contemporary classical composers. As with various musical forms, and perhaps life in general, rules are sometimes meant to be broken. String Quartet features a 1979-penned composition by Morton Feldman, recorded by the highly-regarded Dutch group known as the Charles Ives Ensemble.
Lorsque la première édition de cette biographie parut en 1992, le public ignorait à quel point la princesse de Galles s’était impliquée dans sa rédaction.
Elle y révélait les détails de son mariage, sa boulimie, ses tentatives de suicide, l’existence de Camilla, ses relations difficiles avec les membres de la famille royale, mais aussi ses bonheurs de mère et son souhait d’une nouvelle vie, loin des photographes. …
''I have no problem with notes… none at all'', was Feldman's cryptic comment on For Bunita Marcus. Throughout the seventy-two-minute duration of this extraordinary work, notes coalesce into wisps of melody which drift softly in and out of an immense silence. You are indeed, as pianist Marc-André Hamelin writes in the booklet notes, ''about to enter a world unlike any other.''
This program offers three lively, colorful, and captivating orchestral works by two United States composers, born almost a century apart. These pieces exhibit the fruitful exchange and flow of musical material between North and South America that has long played a role in popular music, apparent not only in commercial song and dance music using Latin American melodies and rhythms but also in early jazz and blues where tango rhythms are so often heard, as in W. C. Handy's St. Louis Blues. And both Gottschalk in the 1850s, close to the beginning of a creative American musical tradition, and Gould in the 1950s, when such a tradition had flowered considerably, show a combination of seriousness of approach with a popular touch.