Mark Knoop plays Morton Feldman’s “For Bunita Marcus”

Tuesday 18 May 2010

Where is that buzzing coming from? It sounds like a small piece of machinery grinding away. I’m sure other people are noticing it too; from time to time they’re looking up and around. I don’t think they’re doing it as a stretching exercise. I’ll tell myself it’s the wind blowing outside, even though we’re in the basement of Kings Place.

Is it a coincidence that there’s a second performance in quick succession at this venue of one of Feldman’s long, late pieces? It’s a pity this gig is in the smaller hall – the seats aren’t so good. After a warm afternoon and a couple of glasses of red I’d felt like indulging myself by dozing off during the concert.

For Bunita Marcus is a piece I find by turns ethralling, boring, infuriating, captivating. Long passages of single notes, usually displacements of semitones, turn with the slightest change of inflection from elusive to banal, from fluid to stiff and then back again. With equally trivial shifts in nuance, sudden changes in the score can sound either revelatory or manipulative. Then, with a few casual arpeggios the music becomes lush, even lyrical compared to the surrounding austerity – but only for a short while. Yet still these fleeting moments seem as indifferent to the listener’s attention as any passage in the piece.

Whenever I hear Feldman being played I wonder if it’s too loud. Is this just because my ears have adjusted to the low level of sound? The fading sound of the piano is just enough to cover that mysterious whirring, until the silences become too long. I’m not sure if this is distracting me from the music or making me concentrate on it. Is this the composer’s problem, the pianist’s, or mine?

  1. I know this is like a month ago now, but I wish I’d known you were at this, we could have finally said ‘hi’!

    (I think that mysterious sound is KP’s aircon. And very annoying it is too.)

  2. Damn, we keep missing each other. Will have to be more upfront about my movements from now on.