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Finish Line
Our complete recording of Morton Feldman’s late piano solo compositions crosses the finish line. For Vol. 3
Steffen Schleiermacher has chosen two very different works by this American composer, each representing a
milestone in his compositional oeuvre: Piano from 1977 and Palais de Mari from 1986, one of his very last works.
Elemental Patterns
Piano marked the beginning of Feldman’s “pattern compositions”; here he worked with the smallest musical
elements, constantly varying and relayering them and opening them up to permanently new experiencing.
Piano surprises the listener with its dramatic quality: homophonic passages, in part in the extreme registers of
the piano, alternate with chordal segments. And sometimes things get quite loud.
Easy Listening
The idea and name for Palais de Mari came from a major archeological excavation site in today’s Syria with
frescoes replete with mysterious figures. The composer dedicated this composition to his friend and confidante
Bunita Marcus, and she performed it in New York in 1986. In contrast to many other pieces by Feldman,
Palais de Mari makes for a surprisingly easy listening experience: consonant intervals, simple melodies, and
fine rhythms convey an absolutely pleasant sensation.
Unique Nuances
Steffen Schleiermacher has worked since 1988 as a freelance composer and internationally acclaimed
pianist. He has specialized exclusively in music of the twentieth century and is regarded as one of the most
important new music interpreters of our time. His intelligently designed overall discography – also as the
director of the Ensemble Avantgarde – offers an exemplary and fascinating overview of contemporary
musical currents.
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| MDG DABRINGHAUS & GRIMM - MDG 1523 |
| Morton Feldman |
| Late Piano Works Vol. 3 |
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Performers |
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Steffen Schleiermacher, piano |
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Content |
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Morton Feldman (1926-1987):
1. Piano 31'57''
2. Palais de Mari for Francesco Clemente 22'49''
1 CD - DDD - 55'20'' |
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