3 Responses

  1. Neal Kosaly-Meyer 17 September 2018 at 9:41 am | | Reply

    Very thought-provoking. The connection to the “Frankenstein”characterization of the Music of Changes makes a lot of sense, and I think I had read that he had a similar reservation about Williams Mix. I’ve been thinking recently about how Music for Piano, the project which is taken up shortly after, is so massive: Cage stuck with that mode of composition (imperfections in the manuscript paper) for such a long time compared with others he used at other times. Your essay implicitly connects some of the dots here–perhaps Cage viewed all of those early chance pieces as Frankenstein monsters to some extent, and on the other hand felt like the Music for Piano compositional method was a more organic, human, non-Frankensteinian breakthrough. I feel an intuitive kinship between the revised scores for 4’33” and Music for Piano, especially the one he gave to Kremen. The “Tacet” version feels connected to Fluxus scores by virtue of its being a text piece, and now that I think of it definitely points towards 0’00”. Thanks for stimulating so much thought!

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