Morton Feldman's preoccupation with what he called 'acoustical reality' was the primary subject of all his work but the intimate acoustic reality of the piano, the instrument at which he worked, became a particular focus during the last decade of his life. Piano (1977) and Triadic Memories (1981) sound like Feldman of course - both share that extraordinary sense of time suspended, of instrumental color refracted through pitch and back again- but each also offers a radically different conception of the piano. “What do we listen to in Feldman? Music as an art form, versions of ‘something else,’ how time passes, or a man sitting at a piano? Such clear music, so many questions.” (Christopher Fox)