Writings about the music of American composer Morton Feldman (1926-1987)
The next several pages of Feldman’s “For Bunita Marcus” is more unsettled, moving forward and backward in time and changing imagery and focus more frequently. I’ll start with a description of the next three pages, which feel like a unit to me.
After I learned the first seven pages of For Bunita Marcus, I allowed myself to continue to the next chunk of music, where Feldman plays with a single pattern for four minutes.
I’ve started learning another late Feldman solo piano work: For Bunita Marcus. This is the first of a many-part account of my progress.
In this post, I explore further what I mean when I say that Feldman’s music has the character of thought by paying attention to a particular example of this in Palais de mari.
I’ve taken a break from Feldman’s “Palais de mari” for awhile, but am playing it again more and starting to think about how this piece works: how does Feldman make the continuity? Let me begin with something very basic: the articulation of events within the piece.
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.
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.