We spend a lot of time, energy, and words on the differences in art—what separates artists, what makes for different styles, what distinguishes one period from another, etc. Occasionally we are nudged into hearing these things in a different light by unusual juxtapositions of pieces in a concert program or on a recording.
It is tempting, easy in fact, to hear the music of Morton Feldman and Milton Babbitt as irreconcilably opposed. Where Feldman is expansive, Babbitt compressed; where Babbitt bubbles, Feldman flows.
This disc, however, almost forces us to hear the common ground between these two totems of the mid-century style wars. The two pieces are wholly characteristic of the composers’ mature style, yet their common instrumentation (and their juxtaposition on the disc) highlighted their similarities. This is also due in part to the beautifully nuanced performances by clarinetist Mark Lieb and members of the Phoenix Ensemble.
Specifically, I am struck by the expressive/structural use of register in both pieces. Both Feldman and Babbitt use the return to and movement away from pitches fixed in a particular register as markers in the progress of the piece. I wonder if there’s been much analysis/research on the use of register in music of the second half of the twentieth-century, because it seems to me to be a uniting factor in an era known for adversarial diversity.
This is an outstanding recording. Highly recommended for fans of the genre and either or both composers.