Author Topic: John Cage (1912-92)  (Read 83621 times)

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Offline T. D.

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Re: John Cage (1912-92)
« Reply #700 on: August 01, 2020, 10:15:44 AM »
https://www.woodstockart.org/events/johncage-433-magnusson-benevento-larson/

Marco Benevento, Kay Larson, and Norm Magnusson
John Cage’s 4’33”
Virtual event
Sat. August 29, time TBA | FREE
Announcing the WAAM 10th Annual anniversary performance of John Cage’s 4’33”
When: Saturday, August 29, 2020, 6:00pm
Where: Streaming live from the Towbin Wing Gallery of the Woodstock Artists Association,
viewable online through zoom link

Featuring: the musical talents of Marco Benevento and the insights of Cage biographer Kay Larson.
Produced by: Norm Magnussen

The event will include a performance of 4’33, followed by a talk by Kay Larson. Marco Benevento will then pay
[sic] some pieces of his own choosing.

Cage’s piece had its world debut on August 29, 1952, in Woodstock, during a concert program produced by The Woodstock Artists Association.


I live about an hour's drive from the venue, would likely attend if not for the pandemic.

Offline Mandryka

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Re: John Cage (1912-92)
« Reply #701 on: November 27, 2020, 09:17:07 AM »



What is Music for Eight? I can’t find it listed here

https://johncage.org/pp/John-Cage-Works.cfm
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Offline T. D.

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Re: John Cage (1912-92)
« Reply #702 on: November 27, 2020, 09:45:38 AM »


What is Music for Eight? I can’t find it listed here

https://johncage.org/pp/John-Cage-Works.cfm

It's Music for ...

I have this recording, and also a Music for Seventeen version on the old Mosko/SF Contemporary/Newport Classics release.
Quoting notes (by Alan Rich) from the latter,

"Music for ... can be performed by an indeterminate number of players (17 in this case). There is no written-down score, only a set of parts for flute, clarinet, trombone, three percussion, piano, violin and cello...(discussion of time brackets)..."

Notes to the Ensemble Avantgarde recording say that it's OK to omit some of the parts, which is good since otherwise Music for Eight would be impossible (9 parts listed above).  ;)

It's included at your link: https://johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=133

which lists 17 available parts  ???. Presumably revised since the date of the Mosko liner notes.
« Last Edit: November 27, 2020, 09:54:21 AM by T. D. »

Offline Mandryka

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Re: John Cage (1912-92)
« Reply #703 on: November 27, 2020, 10:39:31 AM »
It's Music for ...

I have this recording, and also a Music for Seventeen version on the old Mosko/SF Contemporary/Newport Classics release.
Quoting notes (by Alan Rich) from the latter,

"Music for ... can be performed by an indeterminate number of players (17 in this case). There is no written-down score, only a set of parts for flute, clarinet, trombone, three percussion, piano, violin and cello...(discussion of time brackets)..."

Notes to the Ensemble Avantgarde recording say that it's OK to omit some of the parts, which is good since otherwise Music for Eight would be impossible (9 parts listed above).  ;)

It's included at your link: https://johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=133

which lists 17 available parts  ???. Presumably revised since the date of the Mosko liner notes.

Ah! 
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Offline Mandryka

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Re: John Cage (1912-92)
« Reply #704 on: February 20, 2021, 10:53:56 AM »
Very good video recording here of Ryoanji

https://vimeo.com/353639460
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Offline arpeggio

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Re: John Cage (1912-92)
« Reply #705 on: March 05, 2021, 09:34:00 AM »
I subscribe to the Digital Concert Hall.

On November20, 2020 the Berlin Philharmonic perform 4'33" with Kirill Petrenko actually conducting the work while the orchestra members just sat there. 

When they finished the audience applauded and nobody booed.
« Last Edit: March 06, 2021, 07:52:03 PM by arpeggio »

Offline Mandryka

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Re: John Cage (1912-92)
« Reply #706 on: May 02, 2021, 12:27:57 AM »
“Suzuki taught that the ego, through its process of embracing things that pleased it and rejecting the rest, closed itself off from the experiences of the world in toto. Therefore, one had to eliminate a bondage to judgements in order to apprehend the totality of existence.”

“He then spoke of two qualities: unimpededness and interpenetration. Unimpededness is seeing that in all of space each thing and each human being is at the center and furthermore that each one being at the center is the most honored one of all. Interpenetration means that each one of the most honored ones of all is moving out in all directions penetrating and being penetrated by every other one no matter what the time or what the space. So that when one says that there is no cause and effect, what is meant is that there are an incalculable infinity of causes and effects, that in fact each and every thing in all of time and space is related to each and every other thing in all of time and space. This being so there is no need to cautiously proceed in dualistic terms of success and failure or the beautiful and the ugly or good and evil, but rather simply to walk on ‘not wondering’, to quote Meister Eckhart, ‘Am I right or doing something wrong.’”


— John Cage (Critical Lives) by Rob Haskins







I think this recording, which is live, by Tania Chen, is extremely good. She comes from a performance tradition in experimental music, she is an experienced improviser and she makes sense of text and graphic scores, I wonder if all of that helps make something interesting to hear out of Music of Changes.
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Offline Mandryka

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Re: John Cage (1912-92)
« Reply #707 on: May 02, 2021, 12:31:56 AM »
I want to ask the assembled Cageans a question.

Do you think that when you hear John Cage’s music it sounds like John Cage’s music? Is there a distinctive Cagean character and aesthetic sensibility which manifests itself in a faithful performance of his scores?
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