Trovato l’errore. Malcomprensione telefonica. Era ieri sera 🙁
Update 18.00
Mi dicono che non è vero?
Finalmente il sito di Radio3 funziona e nel palinsesto di stasera non c’è Cage, bensì Grieg, Bartok, Ravel. Non male lo stesso, comunque darò un’occhiata, non si sa mai…
Questa sera alle 20.30, Radio3 trasmetterà in diretta, dalla Sala Verdi del Conservatorio di Milano, il concerto di John Tilbury che eseguirà le Sonate e Interludi per pianoforte preparato di John Cage (almeno così mi dicono; sto cercando di verificare ma il sito di Radio3 è malfunzionante).
Mi piace ricordare che il mio primo incontro con un pianoforte preparato fu proprio con Tilbury in occasione di un suo concerto a Verona, più di 30 anni fa.
Dated: New York, July, 1942. Revised October 1942
Instrumentation: 4 performers: pianist; 2 percussionists on muted gongs, tin cans, electric buzzer and tom-toms; one performers who plays a radio or phonograph;
Duration: 12′
Premiere and performer(s): August 1, 1942 at Bennington College in Bennington, Vermont, performed with the choreography by Merce Cunningham and Jean Erdman
The work was composed in the phraseology of the dance by Cunningham and Erdman. For the first time Cage uses records or radios, incorporating music of other composers in his own works. He suggests music by Dvorak, Beethoven, Sibelius or Shostakovich. Cage describes the work as a suite with a satirical character.
Jean Erdman recalls that for the first performance a ‘tack-piano’ was used (a piano with tumbtacks inserted onto the felt of the hammers). The pianist mutes the strings at times or plays the piano body (as a percussionist).
FONTANA MIX and ARIA by John Cage are two separate pieces, although capable of being performed simultaneously as has been done and recorded here.
FONTANA MIX is a composition indeterminate of its performance. It is derived from notation CC from Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 tranparencies. The sheets of paper have drawings of 6
differentiated (in thickness and texture) curved lines. 10 of the transparencies have randomly distributed points (the amounts of points on the transparencies are 7, 12, 13, 17, 18, 19, 22, 26, 29 and 30). Another transparency has a grid, measuring two by ten inches, and the last one contains a straight line (10¾ inch).
By superimposition the performer creates a structure from which a performance score can be made: One of the tranparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the the grid and the curved line, create a time-bracket and actions to be made.
Fontana Mix may be performed with or without parts written for the Concert for Piano and Orchestra, Aria, Solo for Voice 2 and/or Song Books. Tone-control may be regulated using Cage’s composition WBAI.
Cage composed other works using the material from Fontana Mix: Water Walk Sounds of Venice, Aria, Theatre Piece and WBAI. Cornelius Cardew composed his Solo for Guitar using the same material.
In February 1959 Cage prepared a version for 2 tapes of the work at the Studio di Fonologia in Milan, with technical assistance of Mario Zucchen.
The Aria’s score consists of 20 pages of music, each page being sufficient for 30 seconds in performance. Pages may be performed over longer or shorter time-ranges to create a program of a determined time-length.
The Aria may be performed as a solo, or with Fontana Mix and/or with ahy parts of the Concert for Piano and Orchestra.
The text employs vowels and consonants and words from Armenian, Russian, Italian, French and English. The notation consists basically of wavy lines in different colors and 16 black squares denoting “non musical” vocal noises. The colors denote different singing styles, to be determined by the singer.
Sempre da UbuWeb, ecco il film di Peter Greenaway, Four American Composers (1983).
Diviso in quattro parti, è dedicato a Robert Ashley, John Cage, Philip Glass e Meredith Monk.
From UbuWeb, here is the Peter Greenaway’s film Four American Composers (1983).
The composers are Robert Ashley, John Cage, Philip Glass and Meredith Monk.
UbuWeb ha messo in linea questa pagina dedicata a John Cage da cui potete scaricare vari scritti, nonché le partiture dei Song Book I e II libro per voce.
C’è anche il testo del 1966 “How to Improve the World (You Will Only Make Matters Worse)” e vari Mesostics.
1960: John Cage esegue la sua Water Walk nella popolare rubrica televisiva I’ve Got A Secret davanti ad un attonito presentatore che lo tratta come una specie di freak.
Notate come la performance (che inizia al minuto 5) sia eseguita con grande serietà, nonostante le risate del pubblico.
Più o meno lo stesso era accaduto nel 1958 a Lascia o raddoppia (da dove, peraltro, se ne era andato con in tasca un bottino di $6000).
Here’s John Cage performing Water Walk in January, 1960 on the popular TV show I’ve Got A Secret.
John Cage’s lecture.
The lecture begins with reading of Mureau, the first part of “Empty Words”, which is based on a Thoreau text. The program concludes with a lengthy question and answer session that followed Cage’s appearance at the Cabrillo Music Festival in August 1977. It is often in addressing the public’s questions that Cage’s brilliance is most memorable, and this example is no exception. Of particular interest is his description of how he uses chance operations in his creative processes.
Una lezione tenuta da John Cage nell’agosto 1977.
Inizia con una esecuzione di Mureau, una lettura basata su testi di Henry David Thoreau, che, qualche anno dopo, diventerà la prima parte di Empty Words.
Mureau (1970) è descritto come
An I-Ching determined Collage of Quotes on Music, Sound & Silences from the Diaries of D.H.Thoreau
e in effetti il titolo è la giustapposizione della prima parte della parola Music e di quella finale di Thoreau.
Prosegue, poi, con una serie di domande del pubblico e relative risposte. Di particolare interesse, in questa seconda parte, la descrizione dell’utilizzo di operazioni casuali come parte del processo creativo.
Un giusto titolo per Pasqua.
Qui abbiamo “The Perilous Night”, composto nel 1943/44 da John Cage per pianoforte preparato. Uno dei brani in cui è maggiormente evidente il carattere percussivo della preparazione del pianoforte.
John Cage – The Perilous Night (1943/44) – Benjamin Kobler prepared piano
The Seasons consists of nine movements: Prelude I – Winter – Prelude II – Spring – Prelude III – Summer – Prelude IV – Fall – Finale (Prelude I).
It is a sweet and lyric composition, very much unlike Cage’s other works. Like in Sonatas and Interludes and String Quartet in Four Parts it is indicative of Cage’s interest in Indian aesthetics. In The Seasons Cage uses the Indian signification as inspiration: Winter as quiescense, Spring as creation, Summer as preservation and Fall as destruction. It is one of the compositions where Cage tried to “imitate nature in her manner of operation”, which is, according to the composer, one of the ideas from Indian philosophy.
The work’s overall rhythmic strusture is 2-2-1-3-2-4-1-3-1. This structure also expresses the relative lengths of each of the nine movements.
Cage first composed the piano version. The orchestration was made with the help of Lou Harrison and Virgil Thomson.
Here you can listen to an excerpt (Prelude I – Winter) in both versions (see links below).
John Cage – The Seasons (1947)
solo piano version – Margaret Leng Tan, pianoforte
orchestral version – BBC Symphony Orchestra conducted by Lawrence Foster
Traditional musical boxes normally have a single tune (unless you have an advanced version with different cylinders). But in this case, the music box, which is hand cranked, has a strip of paper that passes through it, and the little holes in this strip determine the tune.
The Music Box comes with one strip of paper already punched with the tune ‘Happy Birthday’. There are then 3 blank strips of paper and a hole punch, which will allow you to create tunes of your own! It makes for a fun and interactive way to learn and create music.
Available with 20 or 30 notes, and can play chords, not just single notes. Find all here.
A differenza dei normali carillon, che sono fissi e suonano sempre lo stesso pezzo, questo è programmabile.
Legge i fori su una striscia di carta e viene venduto con due striscie sulle quali sono riportati (come guida) il pentagramma e la scala temporale. Esiste a 20 o 30 note e ovviamente può eseguire anche accordi. Trovate il tutto qui.
Vedo la possibilità di una quantità di operazioni cageane bucherellando casualmente la striscia. Che musica produrrà una effige di Beethoven incisa ripetutamente?
