Morton Feldman

What happens when we listen to the same piece of music again and again-and allow it to change the way we hear the world?

Guillaume Belhomme returns repeatedly to Morton Feldman's For Bunita Marcus : to more than seventy minutes of hushed, searching piano music, to Hildegard Kleeb's extraordinary recording-and to the question of whether music can ever remain the same when we hear it for the second, tenth, or fiftieth time.

He listens to Feldman alone at home, on streets and squares, while travelling through Prague, Vienna, Morocco, and Mauritania. And each time, something different happens. Sounds enter the silences, a place changes a note, a memory settles over a repetition. Listening to a single composition becomes a journey through time, landscape, and perception.

Across fifty short fragments, Belhomme moves freely between music, travel, literature, and art. Samuel Beckett and John Cage appear alongside Mark Rothko and Philip Guston; questions of silence and repetition lead into memories, digressions, and new beginnings. Bunita Marcus herself recalls the seven years of close artistic exchange she shared with Feldman and explains why her name came to form the title of this remarkable work.

The volume ends with another Feldman in One Minute, Just One : Belhomme imagines him addressing his friend Philip Guston in a letter about intimacy and distance, art and disappearance.

Morton Feldman. For Bunita Marcus does not try to resolve the music or explain it once and for all. Instead, it invites us to lose ourselves in it: to listen, to fail, to begin again-and to discover something different the next time we return.