Flux Quartet, Morton Feldman - String Quartet 2
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Artist: Flux Quartet, Morton FeldmanEdition: Music CD
Format: Box set
CD Release Date: 2002-11-26
Music Label: Mode
Soundtracks:
- String Quartet No. 2 - Feldman, Morton
Music reviews of String Quartet 2
Music Review: Long day's journey into night (and back again)
Rating: 5 Stars
At first it seemed impossible: prior to 1999 (or so) the only known ensemble to perform it was the Kronos Quartet in 1983-4 (at least twice, in Toronto and Darmstadt, Germany). They were going to perform it a Feldman mini-festival in New York in 1996, but had to withdraw due to possible fatigue. Since 1999 there have been at least a few baker's dozens of performances (although there still has yet to be a performance in the San Francisco Bay area). Frequent enough to almost remove the word "rarely" from its performance description, but still quite a long way from reaching, say, Shostakovitch's Eighth String Quartet proportions (thankfully (not that there's anything wrong with Shosty 8 (there isn't) but its overplaying and many players' ignorance of his other fourteen quartets can almost be frustrating and annoying)).
This is Morton Feldman's curriculum vitae. An assemblage of "found objects", examined and re-examined. Those familiar with Feldman's other works will find bits and pieces from works composed immediately prior to this, including "For John Cage", "Patterns in a Chromatic Field" (aka, the untitled composition for `cello & piano), "Three Voices", and his first string quartet, as well as the other, shorter string quartet pieces that he wrote in the 1950's. Feldman also loved his Schubert, insisting that the musicians play portions of it like [presumably, the beginning of the slow movement of] the "Death and the Maiden" string quartet. At six hours, this piece could resemble a road trip when taken in full: you're looking out the window, the scenery changes, some of the buildings are the same with often subtle differences, things return, unexpected things appear. In the first 2½ hours there's a short progression of a rising four note figure followed by a falling four note figure cushioned by `cello harmonic drone that springs up now and again, acting like a segue, a divider, a curtain, a wipe of the slate, a slice of pickled ginger after a great piece of sushi, a gasp of air before diving back into the pool, a pause for station identification. (The opening "Deal Music" from Stravinsky's Jeu de Cartes also came to mind.) Nothing announces its final appearance and before you know it, it has vanished. Occasionally there are some loud moments, just to keep you on your toes, but then the delicate moments return and order is restored. Some things return, sometimes verbatim with slight alterations, other times cleverly disguised but still maintaining its identity. Other things are tried out and abandoned in favor of other ideas. There is a progression of nine measures introduced part way through the third disc that gets shuffled upon its next go-around but it's not like you are comparing one version to another. ABCDE later becomes BDCEA, then CABED (or is it the other way around, or another?). Come midway through the fourth hour, things have slowed down to a comfortable crawl, like an exhaustion was built right in, with occasional spurts of "second wind". The four penultimate pages seem like an eternity, a summing up. Then comes the sunlight of the last page ("...the darkness has past and it's daylight at last." -Gilbert & Sullivan, Iolanthe). It's morning, afternoon, night and dawn.
Another important aspect of the Second String Quartet is time. Time does not become a factor to listening here. Like a baseball game (also with an absence of a clock), it is an escape from thinking about anything else. And something from John Cage also came to mind: I think it was from his "Lecture on Nothing" (see Silence); something like, "If anyone feels they should leave, they should go now." But there is nothing wrong with taking this in smaller portions as well (the index points allow you to do so). It's like looking at a selection of photographs. Or, sampling your favorite parts from a box of chocolates (no references to Forest Gump, OK?). Or., catching the highlights of a ballgame on the news: removed from its context, but substantial nevertheless (like Barry Bonds hitting a three run homer, but you don't bother to see how the two runners before him got on base (and no cynical references to that BALCO brouhaha)). In other words, one should have a little sense of what is happening before diving in; most expectations should be well enough abandoned. But that is not hard and fast essential: again, this may sound clichéd but this more like a journey rather than a novel.
The last thing (at least for now) that comes to mind about this Second String Quartet is the sense of tradition. The institution of the string quartet has now been in existence for over 250 years. It's the kind of institution where one can take liberties with, and usually succeed, that other chamber formats could not pull off (if you can find it in a library, Paul Griffiths' book, The String Quartet, A History, is an excellent tome on the subject; see the portion about Mauricio Kagel's quartet). A work of this magnitude could never get written for, say, a string quintet (Feldman's "Violin & String Quartet" does not really count; it is a technically a string quintet, true, but it is really more like a violin concerto accompanied by a low budget orchestra (I thank Frank Zappa for that designation)), although a string trio might receive something comparable (see LaMonte Young; and when in the heck will his string trio ever get commercially produced, or even his "Chronos Kristala" for string quartet? (sorry for the digressing and usual grousing...)). Anyway, this is the best I can talk about this Second String Quartet for now. I have listened to this many, many times, sometimes in full (a long work day can allow that), others in random portions. A piece of this enormous stature requires a different kind of listening "strategy". There are no rules as how to properly listen to this piece, just a sense of acceptance.
Description of String Quartet 2
In the 1970s Feldman took up the study and collecting of antique Turkish rugs, a highly evolved and exquisite folk art. The rugs are intricately patterned, symmetrical in basic design but with constant variation and displacement in the detailed execution of that design; strikingly and subtly colored, including fine variegations of principal colors resulting from the dyeing process. Analogies are clear to Feldman's music as it takes up large-scale patterning, partly working with his familiar subtle gradations of rhythm and instrumental color and ostinati, loops or extended repetitions of a sounds, partly - and especially in this second string quartet - continually finding new and surprising qualities of color. There are a number of sounds in this piece unlike anything one has heard from a string quartet. Lasting more than six continuous hours, it is "a disorienting, transfixing experience that repeatedly approached and touched the sublime." - Alex Ross, in his review of the FLUX Quartet's New York City performance in The New Yorker. String Quartet 2's score is 124 pages, at one tempo marking of 63-66 beats per minute - as such, a slow tempo. Feldman idiosyncratically sets the bars, so one page may last as little as about half a minute or as much as nearly seven minutes. "A very exciting quartet composed of four young men...who have lots of ideas and clearly enjoy making music together," - Anthony Tommasini, NY Times, the FLUX Quartet has performed to rave reviews at many music centers around the world. FLUX have performed Quartet 2 in concert numerous times and know the score intimately. The FLUX Quartet's repertoire consists of notable pioneers as well as visionaries of tomorrow - from "classics" by Nancarrow, Ligeti, and Cage, to works by John Zorn, Ornette Coleman, Oliver Lake, and tenor balloonist Judy Dunaway. This deluxe set features liner notes by Feldman's colleague Christian Wolff, mixing personal experiences and recollections with analysis; and by FLUX founder Tom Chiu who writes of the "experience" of performing such a large-scale work.Classical CDs
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