morton feldman

Last Pieces


CD jewel case


"My past experience was not to 'meddle' with the material, but use my concentration as a guide to what might transpire. I mentioned this to Stockhausen once when he had asked me what my secret was. 'I don't push the sounds around.' Stockhausen mulled this ove, and asked: 'Not even a little
bit ?' " Morton Feldman's own words are simply as valuable for the composer than for the interpreter. As his music slowly draws you towards silence - as some of Beethoven's or Schubert's late pieces do by process of atomization or repetition - you realize how useless it is to try to 'make' anything, to push it against it's own will. Here you will learn something about any interpretation, about any piece: ask the music first and use your concentration. Playing or listening to Morton Feldman bring you back to the very rare moments when you look at a bright starry Summer night, unable to measure its size because it is beyond your sense, a sense of infinity within a finite space."


Morton Feldman was born in New York on January 12, 1926. In 1949 the most significant meeting up to that time took place - Feldman met John Cage, commencing an artistic association of crucial importance to music in America in the 1950s. Cage was instrumental in encouraging Feldman to have confidence in his instincts, which resulted in totally intuitive compositions. He never worked with any systems that anyone has been able to identify, working from moment to moment, from one sound to the next. His friends during the 1950s in New York included the composers Earle Brown and Christian Wolff; painters Mark Rothko, Philip Guston, Franz Kline, Jackson Pollock and Robert Rauschenberg; and pianist David Tudor. He is today considered as one of the most important composers of the century.




01 Palais de Mari (1986)
02 Intermission 6 for two pianos (1953)
03 Last pieces for piano (1959)