This article analyzes Morton Feldman’s last piece, entitled Piano, Violin, Viola, Cello. The first part identifies the various types of musical material appearing in the piece, and characterizes some features of Feldman’s late style. The second part looks at timbre, rhythm and organization in order to glean Feldman’s larger formal concerns. I argue that Feldman is interested in creating forms which project a constantly unfolding, yet inscrutable, logic. The final part brings in Beckett and Proust, as well as Feldman’s own writings, to address the topics of repetition and memory, and speculate upon their musical consequences.