[This is a letter written in response to questions about John Cage posed by the editors of the Iranian music journal Music report.] Griggstown, New Jersey USA 26 October 2012 To the readers of Music Report: Thank you for the opportunity to answer your questions about John Cage. Your questions were about the path of […]
I’ll be giving my talk on “John Cage’s silent piece(s)” (as heard in Buenos Aires and Barcelona) on Saturday, 3 November in Philadelphia, as part of the festival “Cage: Beyond Silence”.
I just returned from Barcelona, where I participated in another John Cage centennial festival.
There are a couple of new recordings out with some of my writing included: a complete recording of the Song Books, and a limited edition vinyl recording of the Sonatas and Interludes from the John Cage Trust.
I was in Buenos Aires a couple of weeks ago for a festival celebrating Cage’s 100th birthday. It was sponsored by the Teatro Colón and the Fundacion Proa.
After my previous post on Cage’s Cheap imitation, I have been thinking more about the piece and doing some poking around. Here are some random thoughts about it.
This Sunday morning’s playlist was a single piece: Cage’s Cheap imitation.
There’s another approach to realizing Two: completely determining everything using chance operations. I tried this out and describe the results.
The notation makes it clear that Cage leaves various specific aspects of the continuity of Two up to the performer. What isn’t clear is how, as a performer, one is supposed to make those decisions.
I’m starting to work on learning John Cage’s Two for piano and flute (Frances is playing the flute part on shakuhachi). I thought I’d take a few posts to describe the process of learning the piano part.