palais de mari
Recently I’ve had a very engaging e-correspondence with pianist Adam Tendler about Morton Feldman, memory, and memorizing Feldman.
An explanation of why my page numbering doesn’t match the Feldman scores now sold by Universal Edition.
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.