Feldman, M: For Philip Guston

This immaculately committed performance lasts almost four and a half hours, and shows how For Philip Guston, a trio for flutes, tuned percussion, and piano and celesta, defines the whole essence... — The Guardian, 25th July 2008, 4 out of 5 stars More…

Release Date: 28th Jul 2008
Catalogue No: WER67012
Label: Wergo
Length: 4 hours 34 minutes

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Feldman, M: For Philip Guston pp. 1-23

Work length1:08:40

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Julia Breuer, Matthias Engler, Elmar Schrammel

Feldman, M: For Philip Guston p. 24 Fade-Out

Work length0:25

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Julia Breuer, Matthias Engler, Elmar Schrammel

Feldman, M: For Philip Guston p. 23 Fade-In

Work length0:41

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Julia Breuer, Matthias Engler, Elmar Schrammel

Feldman, M: For Philip Guston pp. 24-52

Work length1:10:41

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Julia Breuer, Matthias Engler, Elmar Schrammel

Feldman, M: For Philip Guston p. 53 Fade-Out

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Julia Breuer, Matthias Engler, Elmar Schrammel

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Julia Breuer, Matthias Engler, Elmar Schrammel

Feldman, M: For Philip Guston pp. 53-76

Work length1:08:01

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Julia Breuer, Matthias Engler, Elmar Schrammel

Feldman, M: For Philip Guston p. 77 Fade-Out

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Feldman, M: For Philip Guston p. 76 Fade-In

Work length0:34

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Julia Breuer, Matthias Engler, Elmar Schrammel

Feldman, M: For Philip Guston pp. 77-102

Work length1:04:05

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Julia Breuer, Matthias Engler, Elmar Schrammel

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Wergo is proud to present Morton Feldman's 4-hour long trio For Philip Guston, performed by the ensemble Breuer-Engler-Schrammel. Feldman wrote this gossamer work in memory of his best friend for more than 20 years, the Canadian-born painter Philip Guston (1913-1980).The initial motive, C-G-A-flat-E-flat, refers to John Cage who had introduced the two men to each other in 1950, and the sound world evokes the methods used by Guston and other abstract expressionists in their art.

Reviews

25th July 2008

This immaculately committed performance lasts almost four and a half hours, and shows how For Philip Guston, a trio for flutes, tuned percussion, and piano and celesta, defines the whole essence of what Feldman's late music was about. Listening to it is to become immersed in a unique musical world, one built from the simplest of four-note motifs, in which the smallest detail or change of emphasis assumes huge, expressive significance. Every so often the original motif returns, but each time its significance has shifted, because of a new context and the experience of what has happened since it was last heard. In that way Feldman maps his way around this unique, fragile musical space. It's the most extraordinary journey.

Feldman, M: For Philip Guston

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