Piano Spheres’ two-day Feldman marathon just ended a couple of hours ago; some brief thoughts before going to bed.

I wasn’t sure what the turn-out would be for these concerts. Feldman’s music demands two things from a listener: deep listening and openness to rethink musical expectations. Neither quality comes easy, yet Feldman’s proximity to the visual arts has broadened his appeal. The idea — although not always the reality — of the composer and his works attracts at least the curiosity of listeners who otherwise ignore unconventional music.

The first concert in the Feldman marathon was held at the Glorya Kaufman Auditorium at the Wende Museum, a venue that seats 60 people, plus maybe about two dozen more with extra seating. Over the span of six hours, the concert probably attracted about two or three times that amount. Cumulatively. Because a lot of people came and went. Audience turnover looked to be around 60% between each piece. Feldman’s name drew the crowds, but his music challenged many of his evidently neophyte listeners.

Second day was at the Brick in Koreatown. A smaller venue and, since it was a workday, smaller crowd. But more dedicated. Turnover was far less than the day before: over ⅔ of the audience that heard the last notes of Patterns in Chromatic Fields dissolve into the night had been there at the start of Why Patterns? six hours earlier.

A full review is coming Wednesday. We’re not even halfway into January, but these two concerts will certainly be among the highlights of 2026.