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.
I haven’t posted in a couple of months. Here’s an update on what I’ve been playing over the last few weeks.
Another video, this time dedicated to Edie Windsor & Thea Spyer and their big, romantic love.
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.
I haven’t posted a piano video on YouTube in awhile, but I’ve started doing that again. There are a number of reasons for the delay, mainly because I was trying to sort out my thoughts and feelings about doing these kinds of performances.
We went to a tango show on Saturday. I found my attention moving from the dancers to the musicians and especially the pianist, thinking “I’d love to play some of that!”
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.