Re: Four6 / freedom
André Chaudron <chaudron <at> wish.nl>
2002-04-04 18:53:13 GMT
Dear Spencer and others,
There is an interesting article in liner notes of the CD of 'Galerie Rupert
Walser' (including Four6 in a version for four cello's and One12. For
details see my discography: http://home.wish.net/~chaudron/cage.html),
written by Martin Erdmann. I could send it to you, although it is written in
German. If you don't speak this language I might translate it, but this will
take some time.
Regards from André Chaudron
----- Original Message -----
From: Trigonometry G <slaphim <at> hotmail.com>
To: <silence <at> metatronpress.com>
Sent: Wednesday, April 03, 2002 9:14 PM
Subject: [silence] Four6 / freedom
> I joined this group a bit ago as a Cage novice, so to speak, and have
found
> the discussions fascinating. I own SILENCE and EMPTY WORDS, and I also own
> recordings of EUROPERAS 3&4, CITY WEARS A SLOUCH HAT, INDETERMINACY, some
> piano and prepared piano works, some percussion works... As you can see, I
> have a ways to go, but I am prepared to learn as much as possible.
>
> Just recently I purchased Sonic Youth's GOODBYE 20TH CENTURY double disc
> set, and on it is, along with two takes of his "Six," a performance of
> "Four6." Can anyone describe this piece to me? I love finding out the
> process and technique that goes into composing Cage's pieces, and I can't
> find a single thing on this one. The only thing Allclassical.com tells me
is
> that it is "for any means of producing sounds." I also know that it was
> written for William Winant, who is one of the performers on the recording.
> Thanks to anyone who can educate me.
>
> Also, on the recent topic of Cage supposedly "freeing himself" from ego or
> taste, while similarly throwing things out he did not like: There's a
quote
> by him which seems to apply here, from an interview conducted by William
> Duckworth in the collection of interviews called TALKING MUSIC. Cage says
> that he has no use for his recordings, but at the same time, he endorses
and
> supports them. Duckworth asks, "Isn't that contradictory?" and Cage
answers,
> "Yes... I'm not bothered by contradictions. Inconsistency, as we know from
> Emerson, is not a bad thing."
>
> I feel as if his contradictions were that of a self-aware, organic,
> spontaneous human being. They were contradictions that seemed to live in
> harmony rather than hypocritically. Cage realized there are things he
liked
> and did not like, but his ideal was of a listening with no likes or
> dislikes. Therefore, his role as a composer seemed to be somewhat like the
> role of a teacher: making music that would, to him, most successfully free
> the listener from their constraints, to prove that everything is in fact
> music.
>
> -spencer
>
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