Label: Another Timbre

(予約受付中 - 1月下旬入荷予定)

英Another Timbreの偉業!!フェルドマンのボックスセット第二弾を発表!!今までにも巨匠モートン・フェルドマンの録音を数多く出版して来たUK発のコンテンポラリー系レーベルAnother Timbre。Philip Thomasが全演奏を担当した2019年の5CDボックス[Piano]に続く、フェルドマンの6CD新ボックス[Trios]をリリース!!タイトルの通り、フェルドマンが晩年の10年間熱心に取り組んだ三重奏曲にフォーカスしたものであり、氏が1978年から1984年に掛けて作曲した3つの記念碑的作品[Why Patterns?]、[Crippled Symmetry]、[For Philip Guston]を計6時間半で収録。演奏はSiwan Rhys(ピアノ)、George Barton(パーカッション)、Taylor MacLennan(フルート)ら、このレーベル縁の人物らが担当、並外れた繊細さと献身的演奏の凄まじい記録物。



In the final decade of his life, Morton Feldman turned his attention to the trio format with an intensity that would yield some of the most profound and uncompromising music of the twentieth century. Between 1978 and 1984, he composed three monumental works for flute, piano and percussion that together constitute an immense meditation on time, memory and the irreducible strangeness of sound itself. This landmark 6CD box set from Another Timbre presents all three pieces — totalling six and a half hours of music — in performances of extraordinary sensitivity and commitment by the GBSR Duo (pianist Siwan Rhys and percussionist George Barton) joined by flautist Taylor MacLennan.

The journey begins with Why Patterns? (1978), a work that already announces Feldman's late-period concerns: the patient unfolding of near-static sonorities, the delicate interplay of timbres hovering at the threshold of audibility, the sense of patterns emerging and dissolving like half-remembered dreams. At just under thirty minutes, it serves as a gateway into the vast temporal landscapes that would follow.

Crippled Symmetry (1983) extends this vision across ninety minutes of music that seems to exist outside ordinary time. The title, borrowed from an essay on Islamic art, points to Feldman's fascination with asymmetrical repetition — patterns that return but never quite the same, like the intricate geometries of Persian rugs that the composer collected and studied obsessively. Piano, celesta, flutes and metallic percussion weave a hypnotic tapestry of extraordinary delicacy.

The culmination arrives with For Philip Guston (1984), Feldman's tribute to his friend, the painter who had died four years earlier. The close friendship between Feldman and Guston had collapsed in 1970, an estrangement that would endure until the painter's death a decade later. Four years after that loss, Feldman dedicated this contemplative epic to his late friend and to their lost friendship — a work that conjures an emotionally complex world of hazy perceptions and hazier reflections. At four hours and forty minutes, it stands among the longest continuous works in the chamber music repertoire. As the hushed tones of piano, flutes, celesta and metallic percussion cluster in complex soft-focus rhythms, at some points cohering around snatches of melody, at others scattering to explore seemingly unrelated ideas, Feldman explores the limits of memory and half-recollection — traversing and re-traversing the same terrain with deceptively sure tread, leading the listener towards a poignant, perhaps devastating, conclusion.