In looking at Feldman’s piano music from the 1950s one thing I’ve noticed is that there are almost no pedal markings. I listened to Aki Takahashi’s recording of the first two Intermissions and Extensions 3 to hear how she did it.
A good while back, I wrote about Morton Feldman’s Intermission 6. I’ve been playing it some more this month and just made a recording of it.
The latest music to migrate from the bookshelf to the piano to be worked on are pieces by Morton Feldman and Beethoven. What I’m finding is that these pieces are talking to each other—or at least Feldman is speaking to Beethoven—about voicing, weight, and sound.
I’ve been playing Feldman’s Intermission 6 lately. Here’s my take on how to play the piece.