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Give My Regards to Eighth Street: Collected Writings of Morton Feldman (Exact Change) (Englisch) Taschenbuch – 9. März 2001

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The Writings Of An American Musical Genius; Morton Feldman (1926-1987) is among the most influential American composers of the twentieth century. While his music is known for its extreme quiet and delicate beauty, Feldman himself was famously large and loud. His writings are both funny and illuminating, not only about his own music, but about the entire New York School of painters, poets, and composers that coalesced in the 1950s, including his friends Jackson Pollock, Philip Guston, Mark Rothko, Robert Rauschenberg, Frank O'Hara and John Cage. Give My Regards to Eighth Street is an authoritative collection, culled from Feldman's many published articles, album notes, lectures, interviews, and unpublished writings in the Morton Feldman Archive at Suny Buffalo (where he taught for many years). Feldman's writings explore his music and his theories about music, but they also make clear how heavily Feldman was influenced by painting and by his friendships with the Abstract Expressionists.

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The Ever-Lasting Yes 31. Januar 2005
Von M. Hori - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
Morton Feldman's essays and liner notes are every bit as challenging as his music. In fact, I would like to turn one of Morty's quotable lines on its ear and say that "Feldman couldn't write a note unless it was literary." Of course, I'm inserting Feldman's name for the orginal Ives (see page 165 of this book), but I have to say that this composer provides in these pages the "narrative dark matter and coherent strange attractors" for his--in the main--disjunctive sounds. With this book Feldman positions himself in the same great tradition of writer-musicians as Berlioz, while all the while disparaging that very tradition! In fact, I would say that of all the recent experimentalists--Cage included--Feldman had to have been the most literary.

What a fine mind, and what a great loss to have only one side of Feldman's legendary conversational powers in this book, but, until everyone in the world has sense enough to stop what they're doing and applaud Morton Feldman's brilliance and the END of TIME COMES and Feldman himself descends from on high seated on a golden bar stool, ready to take on all comers, they will have to be content with this written fossil. And of course the music...but that's another story.

This book includes an appreciation of Morty and his work by Frank O'Hara, another person I wish I'd met.
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Wondering if there's more 2. Mai 2008
Von John Smithy - Veröffentlicht auf
Format: Taschenbuch
If there's one book on the mystery that is Morton Feldman, it's "Give My Regards", it's in his own words, for starters. In it he covers his fascination and love of painting, particularly shedding light on his relationship with Philip Guston, and giving pretty expansive coverage of his early years as a composer in the 1950s.

Along with his views on art, he gives insight into his musical philosophy, some places echoing what his colleague and friend John Cage would say. Feldman even gives sharp musical criticism about Cage, while at the same time, extolling their friendship, and writing about him in the most flattering light.

Aside from his relationship with Cage, Feldman covers Stockhausen and Boulez quite a lot, paying particular attention to Boulez's philosophy, as he humorously tears it apart. While not compiled by Feldman himself (complied by his widow and released in 2000) it gives a great look into Feldman, the composer, writer, and art critic. The book is even interspersed with various liner notes he wrote from his numerous recordings, and programs. At twelve dollars, I strongly recommend this book to anyone that wants to learn about Morton Feldman.
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a primary document of the American avant-garde 23. Februar 2001
Von scarecrow - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
" The day Jackson Pollock died I called a certain man I knew- a very great painter-and told him the news. After a long pause he said, in a voice so low it was barely a whisper,' That son of a b---he did it'. . . . With this supreme gesture Pollock had wrapped up an era and walked away from it." Feldman was very much part of that era, the Fifties when American art was becoming the most important post-war art there was its unique expressions. Sure Europeans tried to copy us but only became more academic about as Boulez and his excursions into chance/aleatoric gesturing. This collection of essays very clearly reveals how important American expeimentalism was to music. Feldman's forever endeavor to merely create, create at a high intensity working like a Dutch diamond cutter,or lens grinder,toying with creative means as his use of indelible ink, this he said makes you think about what your writing than how you are writing, puts the creative process back into the head.Or composing at the piano, which slows you down so you need to think more. He followed the intellectual currents, anything that brought a sense of richness and other dimension to his art, he knew for instance Henri Bergson's concept of memory and time,how that might affect his music,and painterly means was second nature to him hanging out at the Cedar Bar in New York talking for hours on Light,texture,perception,shape,design,concept, facility,gesture,timbre,tone,chiarscuro, there is ample historical data here as well, almost like a subtext of these ,like an unwritten history of the avant-garde, a "Conversation with Stravinsky"(not really),his first meeting with John Cage(after a performance of Webern), Earle Brown, Christian Wolff, also his travels to Berlin, and England and experiencing the avant-garde through Cornelius Cardew, and British experimentalism.His last years was devoted to long durational compositions, and he merely said he had more time to compose in these years,but Feldman here is filled with marvelous quotes,things,items,shapes for the mind"I knew I was going to be a professional the day I first became practical.Practicality took the form of copying out my music neatly,keeping my desk tidy and organized-all the unimportant things that seem unrelated to the work,yet somehow do affect it.". He also knows how to look from greater heights from mountains, tothe substance of modernity, those who stopped creating and became more interested in themselves as Stockhausen were "Modernists"; for Feldman allowing your materials,the shape,structures of your music tell you the secrets of creativity was most important and became a cause.
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A good overview of what Feldman thought 31. Juli 2014
Von Kirk McElhearn - Veröffentlicht auf
Format: Taschenbuch
Composer Morton Feldman was a voluble man, but he didn’t write much down. He taught and gave lectures, but his collected writings fit in this book, Give My Regards to Eight Street (, Amazon UK). At just over 200 pages, it contains articles about art and music, and liner notes and program notes for some of his works. While Feldman famously wrote many multi-hour works, in has later phase, his words are more concise. Unlike his friend John Cage, who wrote a number of books, Feldman never published any collection of his writings while alive.

As the publisher’s blurb for this book points out, “While his music is known for its extreme quiet and delicate beauty, Feldman himself was famously large and loud. [...] Feldman’s writings explore his music and his theories about music, but they also make clear how heavily Feldman was influenced by painting and by his friendships with the Abstract Expressionists.” Feldman discusses music, but more often he writes about art. He was strongly influenced by artists such as Jackson Pollock, Philip Guston, Mark Rothko and Robert Rauschenberg, all of whom were his friends.

Art was, to Feldman, a way of life. But, as he says:

Art in its relation to life is nothing more than a glove turned inside out. It seems to have the same shapes and contours, but it can never be used for the same purpose. Art teaches nothing about life, just as life teaches us nothing about art.

He writes a lot about art, and how it influenced his music, and, in one lecture given in Frankfurt in 1984, goes into some detail about his music and the way he composes. But this is not a treatise, and there is little real insight into why he composed the way he did, especially in the longer, late works that have been so influential. He didn’t seem to want to go into much detail about those works. He explains some of his processes, but lets the music speak for itself.

This book therefore isn’t a key to Feldman’s music, but it is an entertaining read to better understand his influences, especially those that came from painting. If you appreciate Morton Feldman’s music, you’ll want to read this book to get a better idea of what made the man tick.
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Fight! Fight! NY vs. Darmstadt! 18. Oktober 2014
Von xenakisonheavensdoor - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
I adore Morty's music and his spoken/written words. Unfortunately, the chip on his shoulder regarding pretty much ALL art and music outside of his circle of Cage, Brown, Guston, O'Hara, Pollock, et al, which is deemed (at the best) pedantic, and at the worst, ripped-off and clueles, becomes a Gibraltar.. Sigh.

One star off for tiresome 'my use of aleatoric (non-[?]) method is better than yours'. Feldman even berates Beethoven for not quite 'getting it'. Oh, with the caveat being as always, the Late String Quartets. Of course.

Plenty to argue about that I won't belabor this review with. It's sort of thing I would need a three day drinking binge with Morton to settle. I came away from this book thinking that Feldman would be just fine with that.

I absolutely recommend this book. You won't glean much directly regarding the inner workings of his music, process, theory... But it is there in this (self) portrait of a genuinely human and humane artist. Just don't mention Stockhausen...
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