Sabine Liebner: Morton Feldman 100 / piano recital 2: For Bunita Marcus 1985

Morton Feldman (1926–1987) is considered one of the most important and influential composers of the 20th century. To mark the 100th anniversary of his birth, his works for solo piano will be featured as part of the “Morton Feldman 100” festival, initiated by pianist Sabine Liebner, one of the foremost interpreters of the piano works of John Cage and Morton Feldman.

The Museum Brandhorst and scope—a venue for contemporary music at schwere reiter—have joined forces for this occasion and will jointly present three concerts: on October 23 at the Museum Brandhorst and on November 6 and 7 at schwere reiter. 

In his works, Morton Feldman repeatedly engages with the European musical tradition; yet his meticulously notated music avoids any formal definition or unambiguity. “In my view, people always use tradition as a precaution against catastrophes. And I wanted to find out what the catastrophe might consist of. I knew what the precautions were.” (Morton Feldman, Middelburg Lecture)

A comprehensive performance of his piano works took place once in the 1990s at Wien Modern; it comprises nearly seven hours of music, presenting an extreme challenge for both the pianist and the audience. Sabine Liebner recorded Morton Feldman’s complete piano works on CD, and the recordings were released to high acclaim from the international press. The CD *Early Piano Pieces* received the highest rating in *The Independent*, while *Triadic Memories*, *Palais de Mari*, and *For Bunita Marcus* were awarded the “Disco Excepcional” distinction.

At the “Morton Feldman 100” festival, the composer’s works for solo piano will finally be performed live again.

7:00 p.m.: “
” Lecture by Prof. Dr. Wolfgang Rathert: “

” 8:00 p.m.: Piano Recital 2:
For Bunita Marcus, 1985

“At the beginning I have nothing; at the end I have everything.” Morton Feldman
In his late piano pieces, Morton Feldman reduces the density of material to a few minute seeds, which are varied and illuminated in different ways. He proceeds step by step in search of “lost chords,” of lost harmonies, of sound, consonance, and dissonance. “I’m constantly grappling with harmonies—not with their function, but with the fact that they’ve been lost.” Thus, despite its minimalism, his music still seems abundant, as in his piece “For Bunita Marcus.” 

Sabine Liebner, piano

The Box Office and lobby open at 6 p.m. The event begins at 7 p.m.; the lecture and concert may be attended separately.