Author: JamesP
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For years I fantasized about playing the Chopin Barcarolle. Now I have and am ridiculously pleased with myself. (video)
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An explanation of why my page numbering doesn’t match the Feldman scores now sold by Universal Edition.
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Sviatoslav Richter’s Rachmaninoff has so much more of a sense of ease than mine. Where does that come from? How do I cultivate that?
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I’ve been on a blogging hiatus, very busy with other things, but still practicing.
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After attaining a state of deep concentration in pages 20-22, For Bunita Marcus breaks off and scatters a bit over the next few pages. This is another section where Feldman rearranges earlier music, disorienting our memories.
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As I noted at the end of the last installment of my trek through For Bunita Marcus, the end of page 19 signals something altogether different. What happens over the next three pages is an expansion of time and a sharpening of concentration in the piece.
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Here in the blog, I’ve been describing my progress through Feldman’s For Bunita Marcus one section at a time. I’ve gotten through page 19, which is about halfway through the piece. In reality, I’ve been much further ahead of the blog. A couple of weeks ago, I finally reached the end.
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In a recent lecture on Feldman’s music, Bunita Marcus said that Feldman was ”playing with memory and the evolution of memory.” The next part of For Bunita Marcus (pages 16-19) is devoted to this “playing with memory”.
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Looking at the somewhat sparse blog postings lately, it looks like I’m just plowing through For Bunita Marcus and not much else. Not true!
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In my last post, I noted the way that these first pages of For Bunita Marcus contain such a diversity of music. With page 14, Feldman begins recycling patterns and music from earlier in the piece.