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Morton Feldman liked to say his music was ‘inside silence’; Palais di Mari (1986), his final work for solo piano, illustrates the point. Possibly the quietest music ever composed, its barely audible beauty is like an intermittent thread that glints through the fabric of silence, outlining the spare, asymmetrical patterns that typified Feldman’s later works. Steven Osborne’s acutely sensitive pianism, aided by Hyperion’s recording expertise, superbly captures those elusive sounds as they shimmer on the edge of perception. Osborne impresses too in the three early Feldman works, which experiment with repetition and dynamic extremes, and in two contrasting pieces by his contemporary George Crumb. Processional (1982) is restless, volatile; A Little Suite for Christmas, AD 1979 (1980), inspired by Giotto’s frescoes, is an ‘aural tableau’, which Osborne imbues with a magical delicacy.

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Piano International, 2017 - ©Rhinegold Publishing