In early February 1984, Eberhard Blum, Nils Vigeland, and Jan Williams premiered Crippled Symmetry, the new trio that Morton Feldman had written for them to perform at Sprachen der Künste, an arts festival Blum had planned for the Akademie der Künste, Berlin. In mid-September 1990, they recorded the piece, together with Feldman’s Why Patterns?, for the Swiss record label hatART, at the Studio Stolberger Strasse of the WDR in Cologne. In the seven years that followed, Blum went on to record a total of 23 highly regarded solo and ensemble CDs of music by American, European, and Japanese composers of the 20th century for the same label, focussing in particular on works by composers of the New York School: Feldman, John Cage, Earle Brown, and Christian Wolff. In addition, there were recordings of graphic music by Roman Haubenstock-Ramati and phonic art by Merz artist Kurt Schwitters as well as productions for other labels. Of these, one was a second recording of Schwitters’s Ursonate for the Berlinische Galerie, in 2000, which included works by Dadaist Raoul Hausmann and Fluxus artist Emmett Williams. To date, the last of Blum’s recordings to appear on CD is that of his penultimate performance of Crippled Symmetry with Vigeland and Williams as The Feldman Soloists in the year 2000. Recorded at the 25th anniversary of the June in Buffalo festival, which Feldman established in 1975, and issued by Frozen Reeds in 2012, this final release won unanimous acclaim from The New York Times, The Independent, The Guardian, and The Wire, with The New Yorker naming it one of “10 Notable Classical-Music Recordings of 2012.”