Notes and Editorial Reviews
I'm tempted to retitle Morton Feldman's 1985 piano composition For Bunita Marcus "1001 ways to manipulate three notes". All kidding aside, Feldman's subtle rhythmic shifts, total avoidance of "interval fatigue", and carefully staged increments of soft dynamics prevent his slowly unfolding score from sounding static, even in its arguably overprotracted final section. Perhaps that has more than a little to do with Sabine Liebner's ultra-sensitive touch, along with her courage to "play the resonance" as much as play the notes. This also explains why her interpretation times out longer than previous recorded versions, spilling over onto a second disc.
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Basically, she casts both For Bunita Marcus and the much shorter (at least by Feldman standards) Palais de Mari in starker, more objective light than John Tilbury's fleeter, more vocally oriented readings. In this sense, Liebner is Klemperer to Tilbury's Beecham. Hildegard Kleeb's masterful, pioneering For Bunita Marcus on hatART is out of print, Tilbury's four-disc Feldman collection is difficult to locate, while the Stephane Ginsburgh and Markus Hinterhäuser recordings are sonically inferior. That leaves Liebner's beautifully recorded edition as the one to buy, and if you're a Feldman fan, you won't regret doing so.
--Jed Distler, ClassicsToday.com
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Works on This Recording
1.
For Bunita Marcus by Morton Feldman
Performer:
Sabine Liebner (Piano)
Period: 20th Century
Written: 1985; USA
Venue: Studio 1 Des Bayerischen Rundfunks
Length: 63 Minutes 36 Secs.
2.
Palais de Marie, for piano by Morton Feldman
Performer:
Sabine Liebner (Piano)
Period: Contemporary
Written: 1986; United States of Ame
Venue: Studio 1 Des Bayerischen Rundfunks
Length: 26 Minutes 22 Secs.
Sound Samples
For Bunita Marcus: (beginning)
For Bunita Marcus: (conclusion)
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