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In other works, such as For Philip Guston, which continues for several hours, Feldman actually would go beyond the bounds of possibility, also overtaxing the concentration of both his musicians and his audience. Nevertheless, like these other words Triadic Memories also requires contemplation, listening without restlessness. Though perhaps not intended by Feldman, a strong contemplative element is inherent particularly in this composition, settling like a haze on the tones that seep in slowly – whether alone or in chords – until only the pure sounds remain. "For me, sound is the most important thing. I feel that I am subordinate to it. I feel that I listen to my sounds, and I do what they tell me, but not what I could tell them. Because I owe my life to these sounds; they gave me a life." (Feldman) He weaves his sounds slowly, in loose and seemingly endless patterns that are incredibly difficult to perform in all their deeply fissured complexity. Markus Hinterhäuser continues to astonish his listeners by the way he masters this act of concentration, like he does once again in this brilliant recording.