Mark Feldman: Violin

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Welcome to www.markfeldmanviolin.com and enjoy your stay. To contact me please send an email to: mfeld251@aol.com. For my updated schedule of gigs, new recordings and videos: www.myspace.com/markfeldmanviolin 3 part Program: Violin Concerto # 2 by Jay Weigal With Members of the Louisiana Philharmonic Orchestra, Stanislas le Deschault de Monredon Condutor. Music of John Zorn's Masada with Pianist Sylvie Courvoisier. Music from my soon to be released CD "What Exit" (ECM) with Tom Rainey Drums, Drew Gress Bass and Neal Kirkwood Piano. 21 Concerts (see calendar) Recording with John Abercrombie, the 3rd CD of his quartet with Joey Baron, Marc Johnson and myself for ECM records. teaching at Improvisation Workshops JIMS in Salzburg, Austria. Release date for my ECM "What Exit" with John Taylor Piano, Anders Jormin Bass, Tom Rainey Drums and Mark Feldman Violin and Compositions.

April 4 2006 Theatre Vidy Lausanne Switzerland April 5 2006 Theatre Vidy Lausanne Switzerland April 6 2006 Theatre Vidy Lausanne Switzerland April 7 2006 Theatre Vidy Lausanne Switzerland April 8 2006 Theatre Vidy Lausanne Switzerland April 14.2006 GLASGOW/ Scotland CCA Centre for Contemporary Arts April 15.2006 LONDON/ England Vortex April 18 2006 SEVILLA/Spain Salon de Actos de Caja San Ferna April 19 2006 CADIZ/Spain Sala La Lechera April 20 2006 JEREZ/Spain Centro Cultural de Caja San Ferna April 21 2006 USTER /Zürich)/Switzerland Jazzclub Uster April 22 2006 NEUCHATEL/Switzerland Centre Culturel Neuchatelois - Th April 23 2006 BERN/Switzerland Turnhalle im PROGR April 24 2006 PARIS/France Sunset Jazz Club April 25 2006 BASEL/Switzerland Museum fuer Gegenwartskunst April 26 2006 SCHWAZ/Austria Eremitage April 27 2006 TORINO/Italy Cafe Procope April 29 2006 PORTO SAN ELPIDO/Italy Villa Baruchello May 3 2006 ROTTERDAM/Holland May 4 2006 KÖLN/Germany Hochschule für Musik Köln/Kammermusik May 5 2006 VEERE/Holland with Ned Rothenburg's SYNC with Sylvie Courvoisier at 8PM with Lluis Vidal and Chamber Orchestra with Yuko Fujiyama Quartet Teaching at JIMS workshop of improvisation

[Note: The browser's pop-up blocker may need to be disabled to hear the mp3s listed below.] Violin solos from the upcoming ECM release "What Exit" by Mark Feldman: Father Demo Square
Excerpt From Violin Concerto by Guus Janssen Mark Feldman Violin Amsterdam Radio Philharmonic Orchestra Live Performance December 2003: Concerto Excerpt

[Note: The browser's pop-up blocker may need to be disabled to view the videos listed below.] Gimme Five by John Abercrombie; Live at the Jazz Standard, NYC (violin solo excerpt): Gimme Five 4.2 MB
Spring Song by John Abercrombie; Live at the Jazz Standard, NYC (violin solo excerpt): Spring Song 6.9 MB

Download Hi-Res Version 3.3 MB by Valerie Trucchia Download Hi-Res Version 2.5 MB by Valerie Trucchia Download Hi-Res Version 2 MB by Valerie Trucchia Download Hi-Res Version 2.3 MB by Valerie Trucchia Download Hi-Res Version 2.6 MB by Valerie Trucchia Download Hi-Res Version 3.6 MB by Valerie Trucchia Download Hi-Res Version 2.8 MB by Valerie Trucchia Download Hi-Res Version 3.2 MB by Valerie Trucchia

In 2002 Mark Feldman premiered the Violin Concerto of Guus Janssen as soloist with the Netherlands Radio Philharmonic Orchestra in the Contemporary Music Festival Nederland Muziek Dagen. Also that year he performed a work composed for him by Bill Dobins the Concerto for Violin and Jazz Orchestra with the WDR Jazz Orchestra in concert at the Vienna Concert House. In 2006 he premiered the Second Violin Concerto of Jay Weigal with Members of the Louisiana Philharmonic Orchestra at the New Orleans Cultural Arts Center. In Years Past he has also been a soloist with the WDR Radio Orchestra and the Basil Symphonetta. He has performed and Recorded the Complete String Quartets of John Zorn (Tzadik Records) and his own works for String Quartet Book of Tells (Enja Records). With the Trio "Abaton" he performs the works of composer Sylvie Courvoisier resulting in a CD for the ECM Label. October 2006 is the release date for his ECM recording "What Exit" with John Taylor, Anders Jormin and Tom Rainey. Mark is currently a member of the John Abercrombie Quartet along with Joey Baron and Marc Johnson. In addition to international concert tours the resulting recordings "Open Land", "Cat n' Mouse" and "Class Trip" are on ECM records. In Concert he has performed with Kenny Wheeler, John Taylor, Paul Bley, Billy Hart, Lee Konitz, Joe Lovano, Anthony Davis, Dave Douglas, Richard Galliano, The Arcado String Trio, Louis Sclavis, Muhal Richard Abrams, Wolfgang Puschnig, Tim Berne, Dave Douglas, Mark Dresser and Uri Caine among others. Composer John Zorn has included him in many concert and recording projects over the past 10 years including Massada String Trio, Bar Kakhba, film scores, chamber music and two CD's of his Masada Compositions arranged for Violin and Piano "Masada Recital" and "Malphas - the book of Angels Vol 3" on Tzadik Records Mr. Feldman is found on over 150 jazz recordings as a soloist including his own release "Music for Violin Alone" (Tzadik) and his Oct '06 release "What Exit" (ECM) As a composer he has been commissioned and performed by the Kronos Quartet and the WDR Radio Orchestra. In commercial music he has appeared as a Studio Musician with Such Groups as Cheryl Crow, The Manhattan Transfer, Diana Ross and Carol King among others. Before moving to New York City in 1986 Mr. Feldman lived in Nashville Tennessee Where he was a member of the ensembles that toured with country western singers Loretta Lynn and Ray Price. In Nashville he appeared on over 200 recordings including albums by Johnny Cash, Willie Nelson and George Jones, Jerry Lee Lewis and Television evangelist Jimmy Swaggart.

The husband-and-wife team of violinist and pianist and arranger Sylvie Courvoisier are responsible for the fourth volume in the Masada tenth anniversary tribute, and for what is probably one of the best showcases of John Zorn's Masada songbook. The couple has proven its musical intelligence on other Zorn related releases such as Music for Violin and Piano (Avant, 1999), where they played their own compositions; on the the tribute to the Israeli composer Sasha Argov, Great Jewish Music: Sasha Argov (Tzadik, 2003), (their interpretation to Argov's "At VaAni" was one of the highlights of the ill-conceived tribute); as well as on the memorial concert for Irving Stone (Tzadik, 2004). Feldman is a member of Courvoisier's Abaton Trio, along with his comrade in the Masada String Trio, cellist Erik Friedlander. This trio recorded a beautiful double disc for ECM in 2003. Feldman brings to this tribute an intimate knowledge of the Masada repertoire, as a member of the trio and the Bar Kokhba sextet, while Courvoisier has recorded only one Masada interpretation, on the second volume of tributes to Masada, Voices in the Wilderness (Tzadik, 2003), interpreting there (with the trio Mephista), as well as here, the piece "Malkut." Here, Courvoisier and Feldman 12 songs out of the 200 compositions in the book in a program that is partly based on songs played by the Masada quartet and partly by the different Masada chamber bands. Only one song, "Azekah," is presented here for the first time. The duo's interpretations investigate the inner architecture of the original songs, bringing forth their dramatic lyricism. "Karaim," a song that has been performed by the Masada quartet (Gimel, DIW, 1994; Live in NYC, JazzDoor, 1995), the trio (Bar Kokhba, Tzadik, 1996) and Pharaoh's Daughter (Voice on the Wilderness) is given a long, patient and graceful interpretation that exposes its heartfelt dynamics, quite different from other recordings of the piece. "Mahshav" begins with a very simple piano solo by Courvoisier following the original scale; only half through does Feldman join in, playing arco and improvising on the scale, punctuating while Courvisier continues carrying the simple melody. 'Abidan,' is played pizzicato almost exclusively by Feldman, while Courvoisier echos tiny fractions of the melody on the piano. Other songs, such as "Socoh", "Karet," "Malkut," "Nezikin" and "Hath Arob" are interpreted in similar fashions, making for a magnificent tribute performed by two great musicians. The most recent (and the last perhaps) of the Masada Anniversary series, "Masada Recital" is a chamber performance of Masada pieces by pianist Sylvie Courvoisier and violinist Mark Feldman operating in duet. The two musicians have developed a strong rapport that comes through on these records and the clever and delicate arrangements support a varied and abstract album. Courvoisier is credited as arranger, and I'm guessing also selected the pieces-- she has largely taken a handful of Masada tunes that allow her to exhibit a sense of melancholy-- the recording bleeds a sort of neoclassical moodiness that belies its origins in the Masada project; the klezmer sound is extremely repressed on these. I actually find the feel of the recording closer instead to that of Beethoven's piano sonatas filtered through a minimalist arrangement and performed with a downtown sensibility. Space ends up being as important to the sound of the recording as any instrument is, and lines are unison, disjoint, and sometimes alternate between the two. Courvoisier limits herself not just to the keyboard, but the interior and body of the piano, strumming the strings, tapping them by hand, and even banging on the body of the instrument, whereas Feldman, so often obscured in presenting Masada pieces as part of the string trio, shows a dazzling array of both technique and patience-- the pieces come to him, he never forces the music. Ten of the twelve pieces have previously been recorded (three from "Bar Kokhba", two from "The Circle Maker" and "Masada 3", and one each from Masada albums 1, 4, and 9) with two new ones-- the music works best as a collection, so I'm hesitent to describe individual moments on it, but I can't help but mention "Abidan", which is played primarily inside the piano and pizzicato and really well illustrates the power of Courvoisier and Feldman's use of space, and "Mahlah", which is really a good summation for the album-- a dark and moody rumination featuring sensitive playing and a deep understanding of both the material and each other from both musicians. I stop at four stars because when I've seen them live, Courvoisier and Feldman reach a rapport that far outstrips this one, and in listening to this I largely evaluate it against the live performances, but its still a fine recording and well worth the investment. Recommended. I suppose that since John Zorn plays alto saxophone and improvisation has played a crucial part in his music over the years, by convention he could be described as a "jazz" musician. But as a composer he has been anything but conventional, drawing on myriad influences that range from film scores and cartoon themes to Braxton and Ornette and every culture within range of a recording microphone. Zorn doesn't play on Masada Recital. Instead, pianist Sylvie Courvoisier and violinist Mark Feldman interpret selections from his rich Masada songbook in a style that places these compositions squarely in eastern Europe where the music of radical Jewish culture originates. "Kanah" is a straight-up contemporary classical piece with a cinematic range, suited to a tense train ride through the Alps, or appropriate for covering up the physical evidence of an incident that would be of interest to the authorities. "Socoh" is less structured and consequently more unnerving as Feldman substitutes violent sawing for the previous track's decorative filigrees. "Mahshaz" begins as a piano feature and Courvoisier moves forward cautiously, tentatively, conveying the delicacy of a music box theme and evoking the sorrow and pain of loss, before she affirms the will to go on in a succinct and sweet resolution. Both musicians employ a variety of techniques to elicit unexpected sounds from their instruments, and Feldman, who has played with Johnny Cash in Nashville and They Might Be Giants in Brooklyn, consistently impresses with his virtuosity. On "Abidan," he plucks his strings precisely and intensely while Courvoisier strums her piano to create thrumming accompaniment, and "Azekah" achieves a purity of tone with sustained notes that simulate the high-pitch of a pennywhistle. "Karaim" is quiet and deliberately paced and Feldman is able to hold a single note for the better part of a minute in spots. His solo control on "Aravat" is remarkable. It's probably not jazz. But it is captivating, beautifully played and deeply moving. Zorn has never been into labels. Why should we? http://www.allaboutjazz.com/php/article.php?id=16845 Masada Anniversary Edition, Vol. 4: Masada Recital Sylvie Courvoisier and Mark Feldman had been collaborating in various projects for a number of years, and had developed a wonderful rapport before being invited to participate in John Zorn's 50th birthday celebration at Tonic in September of 2003. Feldman had been working the Masada songbook in various groups for years, but Courvoisier's experience with these tunes was somewhat limited, having played only on the Voices in the Wilderness compilation with her group Mephista (as far as Masada tunes go, that is). However, her inexperience with this songbook would never be suspected upon listening to this recording. Courvoisier and Feldman operate extraordinarily well together, able to go from the most aching lyricism to Cecil Taylor territory in an instant. Each also brings a wealth of extended techniques to the proceedings, which helps the players to really make the songs their own. In fact, some listeners may be surprised that only piano and violin are being used, given the range of sounds and tones produced. It's hard to imagine that ten years have passed since John Zorn introduced his Masada project. A decade later, with a collective songbook of over two hundred pieces and a range of contexts that include the original Ornette Coleman-inflected Masada Quartet, the chamber-approach of Bar Kokhba and Masada String Trio, and the wilder, more aggressive stance of Electric Masada, the Masada project has taken on a life of its own, arguably becoming Zorn's most defining and enduring work. As part of a series celebrating the tenth anniversary of the project, that has included guitar interpretations and voice interpretations, Zorn takes his interest in new music one step further for Masada 10 Years Volume Four: Masada Recital, placing some of the songbook's finer works in a contemporary classical context with violinist Mark Feldman and pianist Sylvie Courvoisier, last heard together with cellist Erik Friedlander on the challenging and satisfying ECM recording, Abaton. What is truly wonderful about the Masada songbook is how fluid and adaptable it is. "Abidan," one of the more popular pieces in the book, has been interpreted by the original quartet, solo guitar, voice, and string trio. With Courvoisier and Feldman at the helm it takes on, as does the entire programme, the feeling of a classical recital. But the difference is that while there is a distinct new music feel about the approach the duo takes, there is still plenty of room for improvisation; with Zorn a fundamental for Masada has always been collective improvisation within a somewhat structured foundation. The context may change, but the face remains the same. Like all Masada recordings the emotional range is far-reaching and diverse. The pieces range from the playful yet melancholic "Kanah" to the more dramatic "Socoh," with its chordal crashes and delicate passages countered with complex rapid-fire movements. "Mahshav" is tender and lyrical, with Courvoisier elegantly developing the theme before Feldman enters for poignant interplay. "Karet" comes from a freer place, with a short and intense theme setting the space for a spirited collective improvisation that is all the more remarkable for the way in which Courvoisier effortlessly shifts between the keyboard and the strings of the piano. What makes this interpretation of the Masada songbook so appealing, much like many other recordings in the project, is its uncompromising blend of elegance and fire, lyricism and more abstract expressionism. Feldman and Courvoisier make the perfect duo for the concept, able to navigate complex written passages with aplomb while working hand-in-glove during the improvised sections with unfailing empathy. As good as the other entries in the Masada 10 Years series have been, Volume Four: Masada Recital may be the most compelling yet, a completely organic blend of passion and intellect that continues to assert the Masada project as the most significant work of John Zorn's long and varied career. Le quatrième album de la série célébrant le dixième anniversaire de Masada puise à nouveau dans l'imposant song-book de thèmes klezmer, magistralement arrangés ici par la pianiste SYLVIE COURVOISIER. Cette musique de chambre pour violon et piano performée par des interprètes au toucher sensible caresse notre épiderme nous entraînant dans une zone crépusculaire ambrée où chaque note engendre des frissons en nous mêmes, à la façon des mélodies de DUPARC ou de FAURÉ. Musique à caractère éternel, de tous les temps, symbole du rapt et du ravissement mystique, ce Masada Recital risque fort, lui aussi, de nous devenir indispensable. Violinist Mark Feldman can tackle anything. He's an expert Nashville session player, an alarming free improviser, and, as this set shows, a wonderful chamber player. Calling these duets between Feldman and pianist Sylvie Courvoisier simply chamber music, though, would be selling them short. The music gallops through genres, scorching tonality in the opening "Smoke" and then exploring a sweet waltz in "One Too," which quickly morphs into "Too Romantisch Too" and then "Too Speedy"--all of which is touched uniquely by Feldman and Courvoisier's mix of sharp jazz chops, 20th-century chamber music, and traditional music of multiple stripes. Feldman plays his violin in full, elegant embraces but is also unfazed when it comes time to twist his execution and create storms that invoke glissandi that would make Xenakis proud. Courvoisier, too, plays gently on the keyboard before unleashing chopping waves and clusters that play dissonantly off the more traditional moments--of which there are plenty--on the CD. Adding to the deep rapport Feldman and Courvoisier share is an audio environment that's spectacularly well engineered. The sounds, no matter how quiet or loud, are given just the right attention and ring all the clearer for the detailed perfection. Avant One of the more promiscuous violinists on the scene today, Mark Feldman has always strived to combine the unusual with the familiar. He's come a long way from his roots as a Nashville studio musician, recording with country giants such as Willie Nelson and Johnny Cash, to his more recent forays on the New York avant-improv scene with neo-giants like John Zorn and Tim Berne. Feldman's new record, Music for Piano and Violin, represents a logical progression from his 1995 Tzadik solo release Music for Violin Alone, though it's unfortunate he didn't find more clever names for these records. On the new Avant release, pianist Sylvie Courvoisier joins Feldman in a series of refined duets. Performed with an attitude of sophistication, these composition-heavy duets betray influences from (and occasionally use direct references to) the European classical tradition, particularly French impressionism. Feldman's playing, crystalline but fluid, evokes an intimate chamber music aesthetic. Courvoisier covers the range from lush chordal progressions to punchy clusters to light prepared-piano tinkles, constantly evolving a florid sense of drama. While the balance of improvisation and composition on this record tilts more toward the latter than usual, it's quite a refreshing change. Nils Jacobson an intimate chamber music aesthetic. Courvoisier covers the range from lush chordal progressions to punchy clusters to light prepared-piano tinkles, constantly evolving a florid sense of drama. While the balance of improvisation and composition on this record tilts more toward the latter than usual, it's quite a refreshing change. In Mark Feldman ist Sylvie Courvoisier auf einen äusserst vielseitigen und experimentierfreudigen Musiker gestossen, der sich mit grosser Leichtigkeit in den verschiedensten musikalischen Gefilden bewegt. Er spielt bei Nashville-Sessions mit und fühlt sich ebenso wohl in einem Kammermusik- Kontext. Er kennt sich in der Klezmer-Musik aus, und er ist ein viel gesuchtes Mitglied der freien Improvisationsszene. Zusammen mit Sylvie Courvoisier durchstreift er auf «Music for Violin and Piano» (Avan 065) fast alle Felder heutiger Musik. Feldman spielt sein Instrument elegant, geschmeidig oder stürmisch. Die Pianistin spielt zart, deftig oder wild und mit einer grossen Vorliebe für Clusters, die sie oft ungestüm herumschleudert. Humor, Demontage des Materials, Melodie- und Rhythmuswechsel kennzeichnen die Musik dieses Duos, die so gut zu Courvoisiers eigener Einschätzung passt: «Ich bin weder Jazzmusikerin noch klassische Musikerin.» Download as PDF 500 KB Bob Blumenthal, Boston Globe 2001

Coming soon. To be released on ECM Records, September 19 2006. Tzadik ECM Avant JMT/Winter and Winter Tzadik ECM Winter and Winter Tzadik Tzadik ECM Tzadik Polygram

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