The aroma of this beauty touches me erotically. This impression stems from Feldman’s tendency to delicacy, which is briefly interrupted by violence. It consists in an action within the scale of love, and this generates sensuality of sound or an atmosphere of devotion, said an enthusiastic John Cage.

Morton Feldman is one of the most important and outstanding composers of the modern period. This beauty of his music derives, among other things, from non-musical stimuli such as painting (Mark Rothko, Philip Guston, Robert Rauschenberg etc.) or his study of the carpets of Anatolian nomads, which reflect a crippled symmetry: Yürük weavers permit the woven pattern to disappear under the loom and continue weaving from memory, which leads to changes to the pattern and to mistakes. Feldman incorporates this process of forgetting in his compositions – time and its development are decisive. Stockhausen was convinced that time was something he could handle and even parcel out, pretty much as he pleased. Frankly, this approach to time bores me. I am not a clockmaker. I am interested in getting time in its unstructured existence. That is, I am interested in how this wild beast lives in the jungle, not in the zoo. I am interested in how time exists before we put our paws on it, our minds, our imaginations, into it.
A feast for the ears.

John Tilbury – piano, celesta
Carla Rees – flute
Simon Allen – percussion

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