as this, do seem to carry a deep sense of connectedness in form, in touch, in patterning, and in timbre. Simultaneously, however, they should be thought of collectively in the Foucauldian sense of an oeuvre without the constraints of immediate, certain or even homogenous unities. This is a collection which is as heterogenous as it is singular in its musical and pianistic focuses. Again scale is crucial here: it binds both the fragmentary miniatures and the expansive late works. If the box set offers a portrait of a twentiethcentury composer’s pianistic expression, it does so by drawing on cutting-edge, if not experimental, twenty-first-century recording techniques. Moving away from the anodyne recording culture of the 1990s and early 2000s, this box set embraces the fleshy and mechanical sounds of performer and instrument. As a result the recording is exceptionally intimate, and, as Thomas writes, it gives the listener the sense that they are ‘snuggled inside the body of the instrument, ears almost touching the strings’. This approach to recording certainly has its merits: one is reminded that, despite abstract thinking around issues of pattern, form and timbre, Feldman’s piano music is as much about finger pads, keys, hammers, strings and peddles. And although it often evokes indeterminate and distant landscapes of memory, the subjectivity of this music is always intensely close. Yet it also presents some problems. At times I miss the space between listener and instrument, which allows the more saturated sonorities the briefest moment to oxidise in the air. The closeness also exposes the more artificial editorial interventions of production, most notably at the end of works where we hear not a pedal being lifted but the recording being cut and faded out instead. That said, box set is a remarkable achievement. It arrives 20 years after John Tilbury’s four-disc set, but brings with it an entire new way of listening to Feldman. It not only respects or remembers the composer’s radical experimentalism, but contemporaneously reignites it.

中文翻译：

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Magnus Granberg - Magnus Granberg 和 Skogen，让我疲惫的无罪鬼魂过去吧。另一个音色，at156。

正因为如此，在形式、触感、图案和音色方面，似乎确实带有深刻的联系感。然而，同时，它们应该被视为福柯意义上的集体作品，不受直接的、特定的甚至同质的统一体的约束。这是一个多元化的系列，因为它在音乐和钢琴方面的重点是独一无二的。再次，规模在这里至关重要：它结合了零碎的微缩模型和广阔的后期作品。如果套装提供了 20 世纪作曲家钢琴演奏的肖像，那么它是通过借鉴 21 世纪尖端（如果不是实验性的）录音技术来实现的。摆脱了 1990 年代和 2000 年代初期的无痛录音文化，这款套装包含了表演者和乐器的肉质和机械声音。因此，录音非常私密，正如托马斯所写，它让听众感觉他们“依偎在乐器的身体内，耳朵几乎接触到琴弦”。这种录音方法当然有其优点：请注意，尽管围绕模式、形式和音色问题进行了抽象思考，但费尔德曼的钢琴音乐与指垫、琴键、锤子、弦乐和小鼓一样多。虽然它经常唤起不确定和遥远的记忆景观，但这种音乐的主观性总是非常接近。然而，它也带来了一些问题。有时我会想念听者和乐器之间的空间，这让更饱和的声音在最短时间内在空气中氧化。这种亲密也暴露了制作过程中更加人为的编辑干预，最明显的是在作品结束时，我们听到的不是踏板被抬起，而是录音被剪切和淡出。也就是说，套装是一项了不起的成就。它比约翰·蒂尔伯里 (John Tilbury) 的四碟套装晚了 20 年，但带来了一种全新的聆听费尔德曼的方式。它不仅尊重或记住了作曲家激进的实验主义，而且同时重新点燃了它。