"The piano was the favourite instrument of Morton Feldman (1926 – 1987). “What is the difference between an orchestra and a piano? A piano has pedals”, he once said. The three works on the CD – Triadic Memories (1981), For Bunita Marcus (1985) and Palais de Mari (1986) – are iconic of Feldman’s compositional trajectory. Firstly, because of their length. The first two pieces each last almost an hour and a half, Palais de Mari 25 minutes. Furthermore, the limitation of the musical material is striking. Triadic Memories is largely built on three closely spaced notes (c#, d and e-mol) that are combined in increasingly varied ways, played by both hands over the entire register. He also makes use of a half depressed right pedal, which allows harmonies to resonate longer but without becoming an acoustic soup.
Feldman has refined this technique in For Bunita Marcus, where the half-depressed pedal provides a constant resonance upon which the melodic patterns are superimposed. In this piece, dedicated to the woman with whom he was together for seven years, he uses the metre as a formal characteristic. The rests are packed into long bars and the melodic material into short ones. Feldman has used this technique before, but in this piece, he has put so much perfection into it that it almost seems like a system – something that would disgust him." - Wynold Verweij