Your support helps us to tell the story
This election is still a dead heat, according to most polls. In a fight with such wafer-thin margins, we need reporters on the ground talking to the people Trump and Harris are courting. Your support allows us to keep sending journalists to the story.
The Independent is trusted by 27 million Americans from across the entire political spectrum every month. Unlike many other quality news outlets, we choose not to lock you out of our reporting and analysis with paywalls. But quality journalism must still be paid for.
Help us keep bring these critical stories to light. Your support makes all the difference.
Commissioned to write the music for the Houston chapel containing works by his friend Mark Rothko, Morton Feldman created one of the cornerstone works of his oeuvre, a piece whose wordless choral keenings and tints of tuned percussion seem to echo the way the paintings’ colour-fields blur space and time, with only Kim Kashkashian’s elegantly ascetic viola offering a resolution of sorts with an unexpected modal melody.
This new recording by the Houston Chamber Choir with Kashkashian, pianist Sarah Rothenberg and percussionist Steven Schick rivals the California EAR Unit version in its sensitivity, and is sympathetically programmed alongside similarly contemplative pieces by John Cage and Erik Satie.
Rothenberg’s renditions of Satie’s familiar “Gnossiennes” are accompanied by his less well-known “Ogive Nos. 1 & 2” and Cage’s dreamlike “In A Landscape”.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments