Feldman’s film music? Is it possible? Certainly if you investigate the Feldman archives at the Paul Sacher Foundation in Basel (not acknowledged here), where there’s more besides, all unlisted in New Grove. This is a side of Feldman we’ve never heard before. Everything is a first recording except for De Kooning, which takes us back home to pure Feldman at the very end.

Astonishingly, Feldman wrote music for Jack Garfein’s 1961 film Something Wild but it was a score by Copland which was finally used. Here we get ‘Mary Anne’s Theme’ which is a pretty Gymnopédie – Feldman idolised Satie and particularly loved Socrate.

Then there are six snippets of music for a documentary on Jackson Pollock, closer to the Feldman we know. But the three other film scores – Samoa (1961), The Sin of Jesus (1961) and Untitled (1960) – show a wider range than any of Feldman’s concert music: triads and a trumpet tune in Samoa (tracks 9 and 10); jazzy effects such as a pizzicato bass and swinging rhythms in Untitled (track 27); Varèse (track 22); and more than a whiff of Copland’s wide open spaces (tracks 10 and 29), especially in the tribute, For Aaron Copland (1981) for solo violin based on typical Copland leaps and using a gamut of white notes built up, as it happens, from low A and C.

Fine performances well recorded, informative notes and sensible cardboard packaging with booklet attached, including an intriguing 1977 photo of Copland in the lecturer’s chair at the State University of New York at Buffalo with Feldman listening. Absolutely fascinating: essential for the rapidly growing clan of Feldman enthusiasts.