Something strange starts to happen when you listen to American composer Morton Feldman's long, long – and I mean long – late chamber pieces. I'm talking about the 80-minute Piano and String Quartet, the four and a half hours of For Philip Guston (which you can hear live at the Huddersfield Contemporary Music festival on 21 November 2012) or the biggest of them all, the five-hour Second String Quartet.

This is how Tom Service starts his latest blog entry, in which he writes about Morton Feldman, providing a nice introduction to the composer, his music and his contemporaries. The full article is available on The Guardian.