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Buy both the 2LP and a CD backup copy
MusicStack has partnered with a vinyl to CD conversion service who will convert the 2LP to recordable CD for you. It will sound great with no annoying clicks, pops or background noise. All recordable CDs come in a standard jewel case with artwork printed on glossy paper.
How does this service work?
The seller will ship the 2LP to the digital conversion center in Arizona, USA where it will be format shifted onto a recordable CD directly from the 2LP only for your ears. The 2LP and the recordable CD will then be mailed to you. The digital conversion center will not retain any copies of the item.
What does it cost?
Price of the 2LP + $60 USD for the conversion to recordable CD + cost of shipping of the 2LP to Arizona + cost of shipping of the 2LP from Arizona to your location paid in advance.
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| Format: | | 2LP Want this on CD also?
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| Condition: | | NEW More Info |
| Label: | | God Records God27 |
| Released: | | 2015 |
| Genre: | | Experimental / Contemporary Music |
| Quantity: | | 1 in stock |
| Seller Ref: | | 51850 |
In the 1980's, Morton Feldman composed two large-sized pieces for his favourite instrument, the piano. Both pieces, Triadic Memories (1981) and For Bunita Marcus (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to: Triadic Memories demonstrates the complexity and tonal opulence of Feldman's pattern compositions from 1977 through 1983, whereas For Bunita Marcus shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described For Bunita Marcus as a piece in which he 'seriously grappled with the idea of meter'.
'I was very interested in this whole problem of meter and the bar line. I was so interested that I started to write a piece in which I took meter very seriously. I saw that nobody knew how to notate. Sometimes, Stravinsky! In my notation I'm close to Stravinsky;that is, meter and rhythm actually being simultaneous and also being more grid-oriented, a balance between rhythm and meter. For Bunita Marcus is essentially made up of just three-eight, five-sixteen and two-two. Sometimes the two-two would have musical content, which was at the end of the piece. Sometimes the two-two acted as silences, either on the left side or the right side or in the middle of the three-eight and thefive-sixteen, and I was using meter as a construction, not rhythm but meter and the time, the length of what is going on.'
Exceprt from liner notes by Sebastian Claren
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