Whereas in Piano (1977) Feldman still aimed at uniting contrasts, breaks and polymorphous structures, he appears to have foregone the pursuance of any object at all in his last work for piano, Palais de Mari (1986): gentle, transfigured, with the variety of sound reduced to minute emotions, the music seems to continuously dissolve into nothingness. A unique listening experience, especially if a pianist like Markus Hinterhäuser succeeds in eliciting even the quietest, most transitory "sounds that breathe" (Feldman) from his instrument with such wondrous soulfulness.