Morton Feldman / Steffen Schleiermacher — The Late Piano Works Vol. 3

Here we have the 3rd(and at present) final release in this series of Feldman releases on German classical music label MDG Scene. Each volume in this series sees highly respected German pianist Steffen Schleiermacher tattling later piano works of  Mr Feldman. And for this release we get two relatively short( by Feldman standards) tracks in the form of Piano from 1977, and Palais de Mari from 1986.

First up we have Piano, which is the longer of the two pieces on offer here at just over the thirty three minute mark. It consist of a series of quiet-to-suddenly loud patterns, these are played out in a often jarring & darting fashion. I’ve heard those who don’t enjoy, or get Feldman’s work calling his work either random & seemingly structure-less, and mostly I disagree with this opinion. But I’m afraid with this particular piece I can see what they maybe talking about- sure it’s clearly there is some structure & meaning here, but to me it just seems to loose & unfocused to really suck me in, or appeal . The patterns move from slow & considered  mechliochlic tinklings, onto faster angular higher-to-mid range darts, through to blends of doomy hits & higher pink-plonks, to sudden very jarring key hits.  I’ve heard at least a couple of versions of this piece, and I never really enjoyed it- so Schleiermacher interpretation of it has nothing to do with my dislike, as his take on it is well played & executed as any I’ve I heard. I think it’s just purely down to the work it’s self, and I just simply don’t  like it as a piece.

So second up we of course have Palais de Mari, and this comes in at the twenty two minute mark. And I must say I find this track much more satisfying, rewarding, and ultimately I’d go as far to say it’s one of my favorite of Feldman’s shorter works- it’s also great introduction to those who have never heard his work. The piece, like much of his work, switches between a series of patterns- we have this lulling & sad melody run, a  selection more angular darts ‘n’ plods, and variations on the original lulling & sad melody. These patterns are weaved out into contemplative, slowly shifting, yet highly compelling sonic tapestry. Once again Schleiermacher plays the piece with a great blend of emotion, concentration, and flare.

So in summing up this release- both pieces see Schleiermacher giving his usual care, respected, and talent to his interpretation of Feldman's work. It just simply I jt don’t enjoy the first piece (who ever is playing it!), but the second piece is very satisfying & spell-biding example of Feldman’s composition at it’s best.