I spent a recent Saturday morning chatting with Laura Kuhn of the John Cage Trust, a conversation now available online in the latest episode of her program “All Things Cage” for WGXC.
Essays and posts on the music of American composer John Cage (1912-1992)
Silent prayer, 4? 33?, 0? 00?, One3: are these evolving manifestations of the same work, or are they four distinctly different works? Should we speak of John Cage’s silent piece, or John Cage’s silent pieces?
Unwilling to perform 4′ 33″ for a concert in Japan in 1989, John Cage created a new silent piece: One3. Dark and frightening, it confounds our expectations.
In 1962, to effectively present his understanding of silence to audiences, Cage wrote a new silent piece and called it 0’ 00” (4’ 33” No. 2). it is a celebration of silence in all the ways that were most meaningful to Cage and which had been missed in the concert performances of 4’ 33”.
While 4’ 33” is seen as a daring creation that changed music, Cage himself can be seen as its somewhat reluctant creator. Rather than embrace and promote it as the key piece in his oeuvre, Cage seems to have distanced himself from it. By turning his back on it, was he trying in some way to make it just go away? Did John Cage regret writing 4′ 33″?
So how, exactly, did John Cage write 4’ 33”? This may seem like a silly question. But for Cage in 1952, process was very important. In this post, I look at the various possibilities for the composition of 4′ 33″.
Everyone knows that John Cage wrote a piece of music that is nothing but silence. But in fact there are four different works by Cage that he considered silent. This eight-part series examines the history of both Cage’s conception of silence and of these four pieces: Silent prayer (1948), 4′ 33″ (1952), 0′ 00″ (1962), and One3 (1989). 1. …
Each of us has an image of John Cage’s silent piece, an idea—or many ideas—of what he created, why he created it, and what it means. This series will be my story of Cage’s silent piece—or silent pieces, since there are four of them.