For Bunita Marcus[72’23]
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page 1[1’31]
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page 2[1’38]
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page 3[1’29]
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page 4[1’45]
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page 5[1’20]
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page 6[1’38]
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page 7[2’17]
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page 8[1’46]
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page 9[1’32]
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page 10[1’30]
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page 11[1’39]
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page 12[1’25]
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page 13[1’07]
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page 14[1’28]
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page 15[2’55]
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page 16[1’39]
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page 17[2’18]
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page 18[1’06]
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page 19[1’06]
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page 20[2’27]
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page 21[2’49]
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page 22[2’45]
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page 23[1’12]
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page 24[2’04]
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page 25[2’12]
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page 26[1’29]
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page 27[1’56]
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page 28[2’24]
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page 29[3’06]
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page 30[2’27]
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page 31[2’40]
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page 32[3’25]
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page 33[2’35]
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page 34[2’32]
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page 35[2’18]
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page 36[2’53]
‘I have no problem with notes … none at all’, was Feldman’s cryptic comment on For Bunita Marcus. Throughout the seventy-two-minute duration of this extraordinary work, notes coalesce into wisps of melody which drift softly in and out of an immense silence. You are indeed, as Marc-André Hamelin writes, entering ‘an alternate reality’.