John Tilbury's final recital focussed on Morton Feldman's for Bunita Marcus, a long piece dating from 1985 and dedicated to the eponymous pianist, who also commissioned Feldman's final work for piano, the rather more distilled Palais De Mari, in 1987.

Like the minimalists, Feldman relies on repetition as a structural principle, but his music stands apart from that genre. It possesses an inner tranquillity and self-absorption which is reminiscent of the effect of a Rothko painting, and it is no accident that one of his major works was inspired by the famous Rothko Chapel.

The slow unfolding of the music, very often in single notes, and its soft, dynamic levels serve to draw the listener in through the level of concentration required, and direct attention to tiny details which might pass unnoticed in more conventionally active music. The effect of even a small change in volume or tempo is magnified hugely, creating significant ''events'' out of very little.

In such a music, the pianist's touch is crucial. The precise weight of each note, the minute inflections of tonal colour, and the subtle variations of pattern and metre all carry a great deal

of significance.

Tilbury was scrupulous in his observation of them, but without calling attention to the playing rather than the music (Feldman sometimes encouraged performers to try to think of his musical sounds as being sourceless, rather than tied to their specific instrument).

This was another eminently satisfying performance to round off the pianist's weekend of recitals, and provided an all too rare opportunity to experience the peculiar demands - and rewards - of this highly absorbing music.