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.