Morton Feldman's latest composition, For Philip Guston, defies conventional notions of length, clocking in at a whopping four hours without a break. While it may seem daunting to sit through such an extended piece, what truly strikes is the work's remarkable economy. A seemingly innocuous opening sequence of four pitches played by three musicians serves as the foundation for the entire work, with notes and motifs expertly woven together, creating an ever-sparse yet hypnotic texture.
The performers' approach is characteristically minimalist, eschewing dramatic flourishes in favor of a focus on delicate timbres. Taylor MacLennan's flutes seem to materialize from nowhere, their sound ranging from disembodied synthesised tones to the rich warmth of the alto flute's lowest register. Meanwhile, George Barton and Siwan Rhys navigate their respective instruments – piano, celeste, vibraphone, glockenspiel, marimba, and tubular bells – with a precision that belies the complexity of the score.
The only instance where Feldman appears to indulge in excess is when he stretches his musical material to its limits. Repetitive passages can feel airless at times, but even these moments hold a strange allure, like watching a mesmerizing dance unfold before one's eyes. As the work progresses, the performers' focus grows, and so too does the audience's absorption in the music.
One might be tempted to say that Feldman is playing a cruel joke on his listeners by subjecting them to such an extended performance. And yet, it is precisely this marathon duration – combined with the performer's intense concentration and the delicately immersive sound world they create – that renders For Philip Guston an unforgettable experience. The abstract expressionist artist he dedicated the work to would likely have approved of Feldman's refusal to compromise, even in the face of logistical challenges.
Ultimately, it is Feldman himself who says it best: "it's a short four hours!" This modest statement belies the profound impact of his music, which continues to challenge and reward listeners with its very length.
The performers' approach is characteristically minimalist, eschewing dramatic flourishes in favor of a focus on delicate timbres. Taylor MacLennan's flutes seem to materialize from nowhere, their sound ranging from disembodied synthesised tones to the rich warmth of the alto flute's lowest register. Meanwhile, George Barton and Siwan Rhys navigate their respective instruments – piano, celeste, vibraphone, glockenspiel, marimba, and tubular bells – with a precision that belies the complexity of the score.
The only instance where Feldman appears to indulge in excess is when he stretches his musical material to its limits. Repetitive passages can feel airless at times, but even these moments hold a strange allure, like watching a mesmerizing dance unfold before one's eyes. As the work progresses, the performers' focus grows, and so too does the audience's absorption in the music.
One might be tempted to say that Feldman is playing a cruel joke on his listeners by subjecting them to such an extended performance. And yet, it is precisely this marathon duration – combined with the performer's intense concentration and the delicately immersive sound world they create – that renders For Philip Guston an unforgettable experience. The abstract expressionist artist he dedicated the work to would likely have approved of Feldman's refusal to compromise, even in the face of logistical challenges.
Ultimately, it is Feldman himself who says it best: "it's a short four hours!" This modest statement belies the profound impact of his music, which continues to challenge and reward listeners with its very length.
It's like 4 hrs straight no break but trust me its not boring lol it's actually super hypnotic & sparse...like when ur listening 2 a calming rainstorm or something The musicians r so precise & focused their instruments sound like magic 
I was low-key worried it'd be too much to handle but Feldman's got that crazy economy thing goin on where every little note is super important 
And yeah, some parts might feel repetitive but that's part of the charm...it's like watchin a mesmerizin' art piece come 2 life 
. I love how he refuses to compromise, even if it means going the extra mile (or four hours 
). It's like he's saying, "come on, listeners, let's take a journey together"... and honestly, I'd totally be down for that 
like ur watching a slow dance unfold in front of u. taylor maclennan on flutes is insane btw, sounds like its gonna fly outta nowhere 
anyway i think feldman was goin for some kinda commentary on our attention span and stuff, but honestly idk what it means lol 
all i no is that its an experience u gotta live thru.
. Four hours might sound daunting but trust me, it's a journey not a chore. The way Feldman weaves together those simple pitches into an intricate web is pure genius. I loved how the performers' minimal approach just lets the music breathe – no drama, no fuss. Taylor MacLennan's flutes are insane 
. What I love most is how you're drawn in despite (or because of?) the repetitive bits – it's like watching a hypnotic trance unfold 
. For Philip Guston would've been down with this experimental vibe, imo 
The way the instruments blend together is magic 
. I mean, who needs breaks when you're having this good?! 
It's like Morton Feldman is speaking my language or something. I need to listen to it again ASAP! 
. And honestly, it sounds kinda cool 
. Like, the fact that one little sequence of four pitches sets the tone for the whole thing is wild 
. It just goes to show how much you can convey with less, right? 
I think it's kinda genius, actually. And those performers? Total pros 
The way the performers weave together delicate timbres and subtle motifs creates this otherworldly atmosphere that's both calming and captivating. I can see why Feldman would want to explore the limits of his material and push listeners out of their comfort zones. It's a bold move, but it's also kind of genius. 
. And yeah, I got the "cruel joke" vibe too - but in all fairness, it's actually really beautiful 
. Maybe it's just me, but sometimes less is more, right? The whole thing felt like an exercise in focus and patience, kinda like a meditative experience 
. I loved how Feldman refuses to compromise his vision, even when faced with logistical challenges. It's a testament to his artistry and commitment to his craft.
. I'm still thinking about it days later, and I'm sure I'll be back for more when it comes out on vinyl 
!
. The instrumentation is insane too, I loved how the flutes just kinda floated in there 
. Don't get me wrong, it wasn't always easy listening but I think that's kind of the point - to keep you engaged and not let your mind wander 
They're like the ultimate team players. I mean, who else could make that celeste sound so interesting? Anyway, I'm still trying to process this entire thing. Has anyone actually listened to it from start to finish? 
Four hours? that's like watching paint dry... 
. I'd rather have some variety in my music.
but then again, in moments of pure focus, it's like watching a super intense math problem solve itself 
and i love how the musicians are so precise with their instruments 
anyway, if you're feeling adventurous and wanna experience something new, give this a shot but maybe bring some snacks or something 
As for the performers, I'm sold on Taylor MacLennan's flutes – those synthesised tones are giving me LIFE!