Category: Morton Feldman
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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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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.
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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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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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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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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.
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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.
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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.