Morton Feldman

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  • contemporary classical
  • minimalism
  • avant-garde
  • classical
  • avant garde
Morton Feldman (born January 12, 1926, died September 3, 1987) was an American composer. He is best known for his instrumental pieces which are frequently written for unusual groups of instruments, feature isolated, carefully chosen, predominantly quiet sounds, and are often very long. Feldman was born in New York City. He studied piano with Madame Maurina-Press, a pupil of Ferruccio Busoni, and later composition with Wallingford Riegger and Stefan Wolpe. He did not agree with many of the views of these composition teachers, and he spent much of his time simply arguing with them.

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Songs

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    Durations 3

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    Durations 4

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    Durations 5

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    Durations I

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    Durations II

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    Durations III - Fast

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    Durations III - Slow

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    Durations III - Very slow

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    Durations IV

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    Durations V

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    Extension 3 (1953)

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    Extensions

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    Extensions 1

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    Extensions 1 for Violin and Piano

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    Extensions 3

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    Extensions 3, Unpublished Version

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    Extensions 4

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    Extensions 4 for Three Pianos

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    False Relationships and the Extended Ending

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    False Relationships and the Extended Ending (1968)

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    Five Pianos

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    Five Pianos (1972)

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    Flute And Orchestra (1977/78)

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    For Aaron Copland

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    For Aaron Copland (1981)

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    For Bunita Marcus

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    For Christian Wolff

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    For Christian Wolff (Continued)

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    For Frank O'Hara

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    For Franz Kline

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    For John Cage

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    For John Cage (Beginning)

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    For John Cage (Conclusion)

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    For Philip Guston

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    For Samuel Beckett

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    For Stephan Wolpe

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    Four Instruments

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    Four Songs to E.E. Cummings: !Blac

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    Four Songs to E.E. Cummings: (Moan)

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    Four Songs to E.E. Cummings: (Sitting in a Tree)

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    Four Songs to E.E. Cummings: Air

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    I Met Heine on the Rue Fürstenburg

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    Illusions, Part 1

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    Illusions, Part 2

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    Illusions, Part 3

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    Illusions, Part 4

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    In Search Of An Orchestration (1967)

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    Instruments I

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    Instruments II

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    Insturments III

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