Somehow you feel that this music has always existed, and there might be a sense of surprise, even loss when it stops. Essential Morton Feldman for his centenary year; if you're new to his soundworlds, why not begin at the end, Feldman's perfectly formed farewell.

You can lose yourself in these beautiful, tactile, immaculately gauged repetitions, but equally you can leave the room, make coffee and return without having broken the contract with the composer. It is a kind of “foreground music”, and executed feelingly here.

It’s austere and demanding, and by no means the easiest of Feldman’s late works to come to terms with. I’d prefer a recording that puts more space around the instruments than they get here, though the commitment and concentration of the players can’t be faulted.

Played here with masterly focus, Feldman’s final work, from 1987, is a 75-minute quartet, austere even by this composer’s daunting standards. Dissonance sometimes creeps into the chords, which are cushioned by a sense of wide open space that these players handle with nearly endless patience and sensitivity.