{"id":2019,"date":"2018-10-08T06:59:50","date_gmt":"2018-10-08T11:59:50","guid":{"rendered":"http:\/\/rosewhitemusic.com\/piano\/?p=2019"},"modified":"2021-11-09T06:38:10","modified_gmt":"2021-11-09T11:38:10","slug":"one-silent-piece-or-four","status":"publish","type":"post","link":"https:\/\/rosewhitemusic.com\/piano\/2018\/10\/08\/one-silent-piece-or-four\/","title":{"rendered":"One silent piece or four?"},"content":{"rendered":"

\"Family<\/a><\/p>\n

I have now presented the history of each of the four different compositions by John Cage that he himself described as silent in some way. He also spoke of his \u201csilent piece\u201d as a single thing, which raises the question of which of these four works he meant. Was it always 4\u2032 33\u2033<\/em>? Or did he mean all four of them to be taken as examples of a single musical idea? Silent prayer<\/em>, 4\u2032 33\u2033<\/em>, 0\u2032 00\u2033<\/em>, One3<\/sup><\/em>: are these evolving manifestations of the same work, or are they four distinctly different works? Should we speak of John Cage\u2019s silent piece, or John Cage\u2019s silent pieces<\/em>?<\/p>\n

If we start from Cage\u2019s statements about \u201cthe silent piece,\u201d we could get the impression that for him there was a single conception of a work of music made entirely from silence. His comments appear in interviews in response to questions about 4\u2032 33\u2033<\/em>. He described it as \u201cmy own best piece, at least the one I like the most\u201d, and that \u201cI always think of it before I write the next piece.\u201d When I look at the context of these statements, and when I look at them as a whole, it seems clear to me that Cage is using 4\u2032 33\u2033<\/em>\u00a0as a symbol for something bigger than any single composition. The \u201csilent piece\u201d is a way to refer to a guiding principle in his life and work, one that he found most people just did not comprehend. In conversation with William Duckworth, he described it as \u201cthe highest form of work\u201d, and attributed to it great power: \u201cIt opens you up to any possibility only when nothing is taken as the basis. But most people don\u2019t understand that, as far as I can tell.\u201d Cage then portrays it as a kind of meditation practice, although he never uses that word:<\/p>\n

JC: Well, I use it constantly in my life experience. No day goes by without my making use of that piece in my life and in my work. I listen to it every day. Yes I do.<\/p>\n

WD: Can you give me an example?<\/p>\n

JC: I don’t sit down to do it; I turn my attention toward it. I realize that it’s going on continuously. So, more and more, my attention, as now, is on it. More than anything else, it’s the source of my enjoyment of life.<\/p><\/blockquote>\n

Clearly in this exchange with Duckworth Cage has gone far beyond 4\u2032 33\u2033<\/em>\u00a0as we know it from 1952. While we could then associate this “silent piece” with a single composition that embraces all the specific silent pieces, I am more inclined to describe what Cage is referring to as silence itself. \u201cThe silent piece\u201d represented Cage\u2019s deeper understanding of emptiness, of silence in a spiritual sense. Cage understood silence as the freedom from identification with self or ego: moments when he could forget himself, enraptured, and thus gain himself (to paraphrase \u201cA composer\u2019s confessions\u201d). Through his work with chance, Cage was able to let go and touch this emptiness, this compositional silence. He then referred to this musical experience of emptiness as \u201cthe silent piece\u201d.<\/p>\n

The common factor here, from 1948 until his death in 1992, was this spiritual dimension of silence as the motivation behind all the compositions made of silence. One3<\/sup><\/em> is remarkably similar in this regard to Silent prayer<\/em>, even though half of Cage\u2019s life separates the two pieces. Both were explicitly presented as warnings about the dangers of technology: in 1948, the dangers of ubiquitous Muzak, and in 1989, the unnamed \u201cbad situation\u201d humanity was in. And both works present silence\u2014the sacred pause\u2014as a means of recognizing the situation. Silence here is an act of resistance and consciousness-raising. 0\u2032 00\u2033<\/em>, with its injunction to act in a way that is free from ego and self-consciousness, and to recognize one\u2019s obligations to others, is likewise at heart a spiritual work. It invites the performer (and the performer was most often Cage himself) to go beyond self and just be nobody in particular.<\/p>\n

4\u2032 33\u2033<\/em> is the odd piece out in this group of silent pieces. It lacks any overt spiritual point of reference, any sense of a turning inwards. Instead, it appears on stage as a material thing, a piece of music made from silence. A performer sits there, turning the pages of the score and measuring the time with a stopwatch. It has always been a problematic piece for me for just this reason (and I think it was for Cage as well). For me it carries with it the air of the fetish, a totem that supposedly carries the powers of silence, but which for the unbeliever is just a mere object. The endless analysis and performance of 4\u2032 33\u2033<\/em>\u00a0just amplify this problem.<\/p>\n

\u00a7 \u00a7 \u00a7<\/p>\n

All four of these compositions made out of silence share this common spiritual heritage, but at the same time they are very much individuals. Each is shaped by the personal, intellectual, and cultural conditions\u00a0 in Cage\u2019s life at the times that they were written; each takes advantage of the compositional apparatus available to him. Silent prayer<\/em> is the fruit of Cage\u2019s engagement with the writings of Ananda Coomaraswamy and the gap he saw between the spiritual purpose of art and its commodification in contemporary culture (as represented by Muzak). Silence was a strategy to resist the ego-driven culture of musical composition, and Cage\u2019s duration structure was the technique needed to define that silence.<\/p>\n

Ultimately, Cage discovered that using chance operations in his composing was the way to achieve this emptiness, this silence. This insight, when coupled with his experience in the anechoic chamber, led him to redefine silence as unintended sound. The stage was set for 4\u2032 33\u2033<\/em>, the concert piece in which the performer sits silently in front of a blank score. Taken together with Rauschenberg\u2019s white paintings, it is a creation of its time. Like the white paintings, it is a bit of a dead end: a work that had to be made, but was not to be dwelt upon.<\/p>\n

In the 1960s, Cage was always on the road and always being asked to perform. He probably was often asked to perform 4\u2032 33\u2033<\/em>, but he was well aware of the problems of that work. In response he wrote 0\u2032 00\u2033<\/em>, which was 4\u2032 33\u2033<\/em>\u00a0No. 2<\/em>. It was the perfect piece for his touring lifestyle, needing only something ordinary to do and the means to amplify it. It took the focus away from \u201cJohn Cage, composer\u201d and put it more fully on the awareness of the everyday. And this pattern of creating a new silence rather than repeat the silence of 4\u2032 33\u2033<\/em>\u00a0continued decades later, in 1989, when he amplified empty space itself in One3<\/sup><\/em>. This was a response to the growing sense of environmental danger at that time. Cage pared more away from the basic idea of the silent composition: no more stopwatches, no more action.<\/p>\n

Is there one silent piece or are there four silent pieces? The answer is that it is a bit of both. These four compositions\u2014Silent prayer<\/em>, 4\u2032 33\u2033<\/em>, 0\u2032 00\u2033<\/em>, and One3<\/sup><\/em>\u2014all stem from a single conception of silence, but each meets that conception at a different point in time with different conditions, possibilities, and needs. We benefit from considering them in relationship to one another, rather than separately. They all talk to one another, inform one another, reveal one another. And we certainly can no longer think of 4\u2032 33\u2033<\/em> as John Cage\u2019s ultimate statement on silence and stop there. It is wrong to let our discussions and understandings of Cage\u2019s silence be bounded by the limitations of 4\u2032 33\u2033<\/em>. Instead, we need to embrace all four of the silent pieces, to go beyond measuring silence with a stopwatch in Woodstock and become more familiar with the composer seeking a sacred pause, the non-performing performer doing their work, the threatening amplified silence of our current world.<\/p>\n

Home page for the entire series: John Cage’s silent piece(s)<\/a><\/p>\n

Notes & asides<\/h2>\n
\n

I’m struck by the way that all four silent pieces have, to some degree and in some way, been failures.\u00a0Silent prayer<\/em> was never even created, much less sold to Muzak. Cage’s ambivalence and alienation from 4\u2032 33\u2033<\/em>\u00a0was the subject of the fifth installment of this series<\/a>.\u00a00′ 00″\u00a0<\/em>has been largely ignored in favor of 4\u2032 33\u2033<\/em>, and\u00a0One3<\/sup><\/em> is unpublished and almost completely unknown.<\/p>\n

For myself, I think we would all do well to put 4\u2032 33\u2033<\/em>\u00a0aside for a time and take up Cage\u2019s lesser-known silent compositions. One3<\/sup><\/em> and its message of imminent danger to the planet from the misuse of technology seems particularly appropriate for our times. I\u2019m not certain whether Cage, working in 1989, was specifically thinking of climate change (it was just beginning to become a prominent issue at that time), but filling normally complacent concert halls with the unsettling amplified silence of Cage\u2019s last silent piece would be a perfect anthem for the movement to wake the world up to its dangers.<\/p>\n

The interview with William Duckworth appeared in his book\u00a0Talking Music:\u00a0conversations with John Cage, Philip Glass, Laurie Anderson, and five generations of American experimental composers<\/em> (Schirmer Books, 1995).<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Silent prayer, 4\u2032 33\u2033, 0\u2032 00\u2033, One3: are these evolving manifestations of the same work, or are they four distinctly different works? 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