The GBSR Duo's Marathon Minimalism Rewards Deep Listening
Morton Feldman's late masterpiece, For Philip Guston, is a sonic behemoth that clocks in at an astonishing four hours and 30 minutes without pause. This daunting duration belies the work's remarkable economy, as its sparse, slow-burning texture is transformed through repetition, transposition, and subtle manipulation of motifs. The three musicians' steady hum creates an atmosphere where time seems to be squandered – a clever subversion, given the actual expenditure of resources required to realize this intricate score.
Feldman once quipped that his magnum opus was "a short four hours!" – a witty remark that perhaps doesn't quite capture the experience. Audience members may have agreed or disagreed, as seats creaked and people shifted through the performance. Amidst some initial discomfort, however, the GBSR Duo's deliberate pacing gradually won over even the most skeptical listeners.
The ensemble's nuanced approach is exemplified in Taylor MacLennan's airy flutes, Siwan Rhys' evocative piano passages, and George Barton's inventive celeste and vibraphone playing. As shifts between instruments occurred, their soundscapes began to reveal hidden depths. It was as if the performers were gently teasing out secrets from the score, rendering each moment a revelatory experience.
For Philip Guston, Feldman's work is an elegy – a testament to his enduring friendship with the abstract expressionist artist, who passed away in 1980. The live performance demonstrates the impossibility of complete abstraction in music, but it also reveals the beauty that can arise from concentrated listening and attention. As this unforgettable performance unfolded, it became clear that Feldman's genius lies not in brevity, but in his ability to distill complex emotions into an atmosphere of quiet contemplation.
Morton Feldman's late masterpiece, For Philip Guston, is a sonic behemoth that clocks in at an astonishing four hours and 30 minutes without pause. This daunting duration belies the work's remarkable economy, as its sparse, slow-burning texture is transformed through repetition, transposition, and subtle manipulation of motifs. The three musicians' steady hum creates an atmosphere where time seems to be squandered – a clever subversion, given the actual expenditure of resources required to realize this intricate score.
Feldman once quipped that his magnum opus was "a short four hours!" – a witty remark that perhaps doesn't quite capture the experience. Audience members may have agreed or disagreed, as seats creaked and people shifted through the performance. Amidst some initial discomfort, however, the GBSR Duo's deliberate pacing gradually won over even the most skeptical listeners.
The ensemble's nuanced approach is exemplified in Taylor MacLennan's airy flutes, Siwan Rhys' evocative piano passages, and George Barton's inventive celeste and vibraphone playing. As shifts between instruments occurred, their soundscapes began to reveal hidden depths. It was as if the performers were gently teasing out secrets from the score, rendering each moment a revelatory experience.
For Philip Guston, Feldman's work is an elegy – a testament to his enduring friendship with the abstract expressionist artist, who passed away in 1980. The live performance demonstrates the impossibility of complete abstraction in music, but it also reveals the beauty that can arise from concentrated listening and attention. As this unforgettable performance unfolded, it became clear that Feldman's genius lies not in brevity, but in his ability to distill complex emotions into an atmosphere of quiet contemplation.
. I mean, who needs an encore when you can just sit and absorb for like 4 hours straight, but then again, maybe that's exactly what Feldman was going for - like, an experience rather than a show or whatever...
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. And don't even get me started on climate change in the polar regions... it's like the Earth is literally burning 
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four hours might seem long, but trust me, its actually kinda magical. their performance was so chill, its like they were conjuring up emotions without even saying a word 
. i loved how each instrument added its own special sauce to the mix - taylor's flutes were so airy and light, siwan's piano was all moody and deep... and george's celeste was like an ethereal whisper 
. anyway, im so glad they did this performance - it shows u that sometimes less is actually more 
the gbsr duo did an amazing job with it too, their instrumentation is so on point 
Taylor MacLennan's flutes are everything 
check it out here: 
. I mean, four hours and 30 minutes is just plain long 
. Can't we get the same emotional impact from a shorter piece? Plus, have you ever tried to sit through something that slow without losing your mind? 
The musicians are all talented and all, but I still don't see what's so special about this kind of 'music'...
. And yeah, it's definitely not for everyone, but if you're willing to invest that kind of attention, it's truly rewarding. The fact that Morton Feldman was able to create something so complex and beautiful in such a long work is just mind-blowing 
. I can see why this concert was an elegy to his friend Philip Guston - it's like a celebration of the power of music to connect us on a deep level 
I had this experience at a concert once where the musician kept repeating this one melody over and over again... like 20 times! At first, it was kinda annoying, but then you start to pick up on all these little nuances in the sound that you wouldn't have noticed if they'd just played it once. It's like your brain is trying to solve a puzzle and suddenly, BAM! You're like "oh I get it!" 
The thing about Feldman's work is that it's so slow-burning, but when it clicks, man... it's like time stands still 
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... I mean, four hours and 30 minutes is crazy long, right? Like, how many people were even paying attention by the end? 
... What if it's actually something more sinister lurking beneath the surface? 
. And yeah, I can see why Feldman said his magnum opus was "a short four hours" 
The way they slowly teased out all the secrets from the score was like watching a puzzle come together, and when it did, man... it was breathtaking.