MORTON FELDMAN: Palais de Mari
A piece typical of Feldman's late period, actually the last complete piano piece dating from 1986. The Babylonian ruins fascinated him insofar as that, similar to Clemente' s pictures, they seemed to be referring to what was not depicted but merely hinted at through rudimentary outlines. Similarly, the aura between the contours of the Babylonian ruins seemed to him the essence, just as the aura between the tonal and sound events of his own music. Certain sound constellations recur, mostly with minute changes, but always in such a way that perception learns step by step to recognise even the smallest shift as an important event - an intensive training of aesthetic perception in the minimal range, which, if successful, opposes the loud orgies of modern life with an impressive counter-world.