Author: JamesP
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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.
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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.
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Over the weekend I played through Busoni’s transcription of Bach’s organ Prelude and Fugue in E-flat, BWV 552, known as “St. Anne”. It was addictively fun to play.
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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.
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I haven’t posted in a couple of months. Here’s an update on what I’ve been playing over the last few weeks.
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Another video, this time dedicated to Edie Windsor & Thea Spyer and their big, romantic love.
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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.
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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.
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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.
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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!”