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I guess I’ve been good, since Samantha Claus left some new music under the tree this year. So, of course, I’ve been having fun playing through various new scores, and learning more about what playing really means to me.
Today’s playlist was one of my all-time favorite operas: Mozart’s “The magic flute.” All in all, it was a bright and cheery way to start the Sunday before Christmas.
There is a particular two-chord pattern that develops towards the end of Palais de mari that caught my attention early on. It reminded me of conscious breathing.
One of the first things I noticed in learning Palais de mari is that I had to count constantly. The fact is that rhythm is deceptively hard in Feldman.
When I was sixteen, I was a Gershwin fanatic. I revisited some of that music today after a thirty-year-plus hiatus.
After my previous post on Cage’s Cheap imitation, I have been thinking more about the piece and doing some poking around. Here are some random thoughts about it.
I’ve started working on Morton Feldman’s Palais de mari>, and I plan to do a number of posts on this piece as it sinks in. And I’ll start at the beginning, writing about the nature of opening ideas in late Feldman.
This Sunday morning’s playlist was a single piece: Cage’s Cheap imitation.
I’ve been playing Feldman’s Intermission 6 lately. Here’s my take on how to play the piece.