John cage biography imaginary landscape

John Cage

John Cage (USA, )

Imaginary Landscape no.1 ()

In A Landscape ()

Sonatas and Interludes ()

String Quartet ()

Imaginary Landscape no.4 ()

Music Of Changes ()

Concerto for prepared piano ()

Water Music ()

Williams Mix ()

Piano Concerto ()

Cartridge Music ()

Electronic Music for Piano ()

Musicircus ()

HPSCHD ()

As Slow as Possible ()

Europera ()

Concerto #3 "Fourteen" ()

Empty Words ()

Twenty-eight for wind ensemble ()

Sixty-eight for orchestra ()

Seven2 for bass flute, bass clarinet, bass trombone, two percussionists, violoncello and contrabass ()

John Cage and David Tudor released Indeterminacy - New Aspect of Form in Instrumental and Electronic Music (), documenting an "aleatoric" performance in which Cage read 90 randomly sequenced one-minute stories while Tudor played random piano and tape music in a different room so that they couldn't hear each other.

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Tonight, some electronics, some prepared piano, and some rain.  Sometimes it is entertaining to imagine Cage sitting on the other side of the couch listening with me.  He seemed to say various things about recordings during his life, so I’m not sure what his thoughts on the premise of this experiment would be, or if he would have been offended by my falling asleep during Etcetera (see below)

Our Spring Will Come
A work for prepared piano, Our Spring Will Come follows a typical pattern for works of this type: relatively short segments of alternating rhythmic passages.  Many of the passages include melodies from unprepared piano keys, or sometimes single tones.  The work is very upbeat and the rhythms are uniformly fast. There are a few points where a single rhythm, with four sounds, is played for a fair amount a time, with no other notes.  Also, Cage punctuates things in the latter half of the work with some very abrupt silencing of the piano.  The piano preparations generally produce a rattling, metallic sound.  The different types of rhythm are recognizable when they repeat.

Improvisations IV (Fieldin

John Cage

Ernst von Dohnányi, in Preßburg, dem heutigen Bratislava, geboren, war ungarischer Herkunft. Seine cis-Moll-Violinsonate von verrät allerdings kaum diese Provenienz; sie erinnert vielmehr an den Stil von Brahms, dem Dohnányi nacheiferte, ohne dessen Originalität zu erreichen. Hellen Weiß, die in Köln und Dresden lehrt, und Paul Rivinius, der in München lebt, machen in ihrer flüssigen, ausgewogenen Darstellung deutlich, dass das epigonal wirkende, spätromantische Stück kontrastreich gearbeitet ist. Interessanter wirkt die zehn Jahre zuvor komponierte C-Dur-Serenade für Streichtrio, die in ihren fünf Sätzen sowohl Temperament und Sentiment wie auch einen Schuss Humor verrät. Hellen Weiß musiziert mit ihren beiden Partnern schwungvoll und dynamisch flexibel. Vom einleitenden Marsch, der einer alten Serenadentradition entspricht, bis zum humorvollen Finalrondo erlebt man vergnügliche Klänge und Rhythmen.

John Cage: I have Nothing to Say and I'm Saying It

&#;In the nature of the use of chance operations is the belief that all answers answer all questions.&#;

John Cage in June Photo: Fotocollectie Anefo

In , David Tudor sat down in front of a piano for four minutes and thirty-three seconds and did nothing. The piece 4&#;33&#; written by John Cage, is possibly the most famous and important piece in twentieth century avant-garde. 4&#;33&#; was a distillation of years of working with found sound, noise, and alternative instruments. In one short piece, Cage broke from the history of classical composition and proposed that the primary act of musical performance was not making music, but listening.

John Cage&#;s Early Career

Born in Los Angeles in , Cage studied for a short time at Pamona College, and later at UCLA with classical composer Arthur Schoenberg. There he realized that the music he wanted to make was radically different from the music of his time. &#;I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said &#;You&#;ll come to a wall you won&#;t be able to get through.&#; So I said, &#;I&#;ll beat


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