In a rare and demanding live event, audiences at London's Kings Place were treated to a monumental performance of Morton Feldman's 'For Philip Guston', a work stretching over four and a half hours without an interval. The GBSR Duo, featuring pianist Siwan Rhys and percussionist George Barton, alongside flautist Taylor MacLennan, delivered a performance of intense concentration that transformed Feldman's minimalist score into an unforgettable, immersive experience.
A Test of Endurance and Attention
The sheer scale of Feldman's late work is formidable. To put it in perspective, a typical marathon run can be completed in less time, and even Wagner's epic 'Götterdämmerung' is shorter. Composed in memory of his close friend, the abstract expressionist painter Philip Guston, the piece is an exercise in extreme economy. It unfolds from a simple opening sequence of just four notes, which are then meticulously transformed, repeated, and echoed across a sparse musical landscape.
The performance, part of Kings Place's 'Memory Unwrapped' series, was not without its challenges for the audience. The consistent quiet dynamics and slow tempo tested concentration, with the inevitable sounds of creaking seats, stifled coughs, and the quiet exit of some attendees punctuating the near-silence. Yet, for those who persevered, the rewards were profound.
Revelatory Performances and Ethereal Sound
As the hours passed, the subtle artistry of the performers came to the fore. Taylor MacLennan's flute work seemed to materialise from the air itself, with a pure, vibrato-less tone that at times mimicked the otherworldly quality of synthesisers, and at others sank into the soft, deep register of the alto flute.
The GBSR Duo demonstrated remarkable stamina and focus. Siwan Rhys switched deftly between piano and celeste, while George Barton moved between a battery of percussion including vibraphone, glockenspiel, marimba, and tubular bells. These shifts in instrumentation became increasingly revelatory as the piece progressed, with moments where the texture sheered away to a single, haunting instrumental line proving particularly powerful.
The Legacy of Friendship and 'Style'
The work is a poignant tribute to Feldman's complex friendship with Philip Guston. The composer noted they "broke up because of style" when Guston controversially returned to figurative painting. Written after Guston's death in 1980, 'For Philip Guston' serves as a profound, posthumous reconciliation. The live performance, in its full, fidget-inducing duration, eloquently demonstrated the impossibility of pure abstraction in music, instead creating a deeply human and emotive sound world.
While Feldman once quipped that the piece was "a short four hours," the truth unveiled at Kings Place was different. It was a long, demanding, and ultimately transcendent journey. The intense concentration of the performers and the delicately woven soundscape they created proved that in this marathon of minimalism, deep listening was richly rewarded with an experience that lingered long after the final note faded.
