Composing By Numbers

Available in 44.1kHz/16bit

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Album Name Length Format Sample Rate Price
Composing By Numbers 1:15:11 $11.98
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# Track Title Length Format Sample Rate Price
1 Projection I 3:00 $1.49 Buy
2 Projection II 4:47 $1.49 Buy
3 Projection III 2:05 $1.49 Buy
4 Projection IV 4:36 $1.49 Buy
5 Projection V 2:31 $1.49 Buy
6 Intersection I 12:44 44.1/16 Album only
7 Marginal Intersection 6:06 $1.49 Buy
8 Intersection II 11:05 44.1/16 Album only
9 Intersection III 2:44 $1.49 Buy
10 Intersection IV 3:13 $1.49 Buy
11 Out Of 'Last Pieces' 9:19 44.1/16 Album only
12 The Straits Of Magellan 5:13 $1.49 Buy
13 In Search Of An Orchestration 7:48 44.1/16 Album only

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When Feldman met Cage in the winter of 1949, they quickly established a friendship based upon a similarity of intent and a mutual respect for the work each was doing. Soon thereafter, Feldman showed a string quartet he had been writing to Cage. Cage's enthusiasm for this work, and delight in Feldman's being unable to explain "how" he had written it, gave Feldman an all important "permission" to follow his intuition.

This period of time marks the beginning of Feldman's "graph music", so named because it was written on graph paper, but also because it is part of a larger movement in 20th century music during which music notation departed from the traditional staff notation and began to incorporate a great deal of graphic symbols.

In these 17 works, Feldman was working towards a vision of plasticity and freedom. One hears in these works the micro-polyphony of later Ligeti, noise which he later rejects, and often a ferocity within the sound/performance - characteristics which he eschewed in his later work.

Of the 17 works he composed in the graphic style, this recording offers a total of 13 of them.

They appear in the order of composition enabling a listener to listen to the development of Feldman's compositional thinking.

"'s wonderful to finally hear "In Search of An Orchestration". Not that Morton Feldman had to search all that far: his mastery of instrumentation is evident throughout this fine disc." - Dan Warbuton,, June 2005