Recently I’ve had a very engaging e-correspondence with pianist Adam Tendler about Morton Feldman, memory, and memorizing Feldman.
palais de mari
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.