Classical Music

REVIEWS:
International Record Review (3/00, pp.88-90) - "...Schleiermacher imparts a remarkable sense of continuity and climax to the score's disparate elements. He effects smooth, split-second dynamic contrasts with the utmost ease and control of sound....a winning release..."

D'Arcy Philip Gray brings authoritative performances of Cage's works for solo percussionist. He worked with Cage in 1992 and extensively with David Tudor between 1995-96. Gray was also a musician in the Merce Cunningham Dance Company (1993-95).

Classical Music

Although John Cage was trained in the European tradition, he came to reject the Western dramatic development concept of music, viewing music instead as a state of mind, changing but not goal-directed. This approach is particularly apparent in his percussion works – the focus of this CD. Ars Ludi is a variable percussion ensemble that uses its global concert activity to advocate for more contemporary percussion repertoire. Integral to all the works is the piano, played here by Giancarlo Simonacci.

All tracks have been digitally mastered using 24-bit technology.

A major discovery and first recording of an important Cage piece from 1944. In 1944, John Cage was invited to participate in "The Imagery of Chess" exhibition at the Julien Levy Gallery in New York City. The artists included Calder, Noguchi, Motherwell, Breton, Duchamp, Ernst, Man Ray, Tanning and other leading surrealists. Cage contributed a painting entitled "Chess Pieces". It was purchased at the show and went into a private collection. For decades it was deemed lost and was (almost) forgotten by Cage afficionados and scholars.

Re-assembling the original artworks for "The Imagery of Chess Revisited" show (2005-06) at the Isamu Noguchi Museum in New York led to the tracking down of the Cage painting. Cage expert Margaret Leng Tan set about transcribing the music in the painting into a playable score which receives its premiere recording here.

Chess Pieces is from 1944, an emotional and creative year for Cage; besides echoes of Satie, Chess Pieces contains prophetic touches of minimalism and has features in common with his monumental piano piece, Four Walls, from the same year.

A renowned Cage interpreter, Ms. Tan worked closely with the composer from 1981 to 1992. Cage was particularly appreciative of her performances of his works for the prepared piano. This is Ms. Tan's long-awaited recording of Cage's prepared piano masterpiece, the Sonatas and Interludes of 1946-48.

Also included is the first recording of the only other musical score from "The Imagery of Chess" show, neo-classical composer Vittorio Rieti's Chess Serenade.

Also available as a surround sound DVD (MOD-DV158) with full performance videos of Chess Pieces and Chess Serenade, plus 2 documentaries: Mr. Cage's Prepared Piano (Ms. Tan takes an in-depth look at the prepared piano), and CAGE: Music/Art/Chess (a closeup look at Cage's and Rieti's pieces in the Noguchi Museum's "The Imagery of Chess Revisited" show).

ADDITIONAL DOCUMENTARY VIDEOS:
* Mr. Cage's Prepared Piano: an insightful look at the history of the prepared piano narrated and performed by Ms. Tan, who also demonstrates how to (and not to) prepare a piano, and describes the preparations in detail both visually and sonically. She prepares and performs excerpts from Bacchanale, Cage's first prepared piano work, and Sonatas & Interludes.
* Cage and the Art of Chess: a visit to "The Imagery of Chess Revisited" exhibit at the Isamu Noguchi Museum with curator Larry List and Ms. Tan. Together they describe Cage's relationship to the show and examine the "Chess Pieces" painting in detail - they also discuss Rieti and his Chess Serenade. Mr. List explores a separate feature on Cage's wife, Xenia Cage, and her Chess Table (Xenia was an artist and also had a piece in the show) and sheds additional background on her life and work.

24-bit surround sound DTS and Dolby Digital surround.
Dedicated 24-bit stereo mix.
English, French, German and Spanish subtitles.

NOTE: Sonatas & Interludes is not accompanied by video.

R E V I E W S

"The seventh volume of John Cage's piano works -- or Volume 34 of the Complete John Cage Edition, if you prefer -- features a transcendent performance of the Sonatas and Interludes for Prepared Piano (1948) meticulously rendered by avant-garde keyboardist extraordinaire, Margaret Leng Tan. Yet Volume 2 in this series features a 1994 recording of the same work, played by Philipp Vandre. For those aiming to collect the full series, this may be an annoyance, but others catching these CDs as they are released will surely appreciate having Tan's superb interpretation of the Sonatas and Interludes, with premiere recordings of Cage's long-lost Chess Pieces for piano (1944) and Vittorio Rieti's Chess Serenade (1944) as bonuses, rather than search for the older disc of the single work. But despite seeming redundant, this CD is clearly one to get: Tan is simply remarkable in the Sonatas and Interludes, giving a realization that is scrupulous in execution, deep in sonic dimensions, and luminous in color; and she offers what is actually a 'period performance,' since she plays a piano identical in its specifications to the small Steinway Cage originally prepared in the process of composition. The differences in sonorities between this album and others are immediately noticeable, especially in this recording's superior resonance and crystalline details; anyone who already knows this work will recognize that Tan's interpretation is truly Cagean in its poetic nuances and hypnotic power. So without disparaging other recordings for being less authoritative -- certainly, Tan holds a considerable advantage for having worked closely with Cage in his final years -- it is safe to say that fans of his most popular piano work will give this album full marks. Mode's sound quality is ideal, too, so this CD receives the highest recommendation. --- Blair Sanderson, allmusic.com, March 2006

John Cage allowed for some of his works to be combined and performed simultaneously. Percussionist Bonnie Whiting has created uniquely virtuosic solo-simultaneous realizations of some of these works for "speaking percussionist." 51'15.657" for a speaking percussionist is Whiting's solo-simultaneous realization of all of 45' for a speaker and 27'10.554" for a percussionist. Cage wrote 45' for a speaker to perform himself. He wrote on thirty-two subjects and added a series of gestures (gargling, lighting a match, etc.) to be performed during the delivery. Like the percussion piece, each page is one minute long. Between 1984 and 1987 Cage composed 17 pieces called Music for ____. Any of these pieces can be performed alone or together in any combination. Here Whiting combines one of the percussion versions with the version for voice. Her recital is completed by Cage's two beautiful, classic, early pieces for voice and piano: The Wonderful Widow of Eighteen Springs and A Flower. Here the piano is used as a percussion instrument, never played on the keys but rather knocked and slapped on by th epianist. As in the larger works, Whiting gives a tour de force performance of both parts simultaneously. As a bonus, Whiting's mentor Allen Otte performs his work for speaking pianist/percussionist which is created around works of Cage and utlizing Cage's compositional "tools" for both the music and text.

John Cage’s vision of the future of music was first shaped by an intense creative period from 1935-1942, when he wrote many of the seminal works of percussion chamber music featured here. When he composed these works, the young Cage was basically the same age as the members of Third Coast Percussion.

This release includes all three of the groundbreaking Constructions. First Construction (in Metal) utilizes dozens of metal instruments which are beaten, scraped and shaken, creating an other worldly mixture of resonant sound unlike any heard before it. Second Construction prominently features one of Cage’s greatest inventions, the prepared piano. Finally, Third Construction brings the greatest degree of complexity and the widest range of instrumental timbres yet, creating one of the first landmark pieces in the percussion chamber music literature.

There are very few recordings of the early works Quartet and Trio.

The surprisingly beautiful sounds of everyday objects come forth in Third Coast Percussion’s recording of Living Room Music, recorded onsite at the futuristic Ford House in Aurora, IL, designed by one of America’s most iconoclastic architects, Bruce Goff, in 1947. Third Coast utilize the house itself as an instrument for the first movement.

Liner notes by Gregory Beyer and David Skidmore.

The second disc contains a recording of Cage reading his lecture "Composition in Retrospect."

The recording was awarded the German Record Critics' Award of the Year 1983, the "Deutscher Schallplattenpreis" (German Record Award), the Record Cover Award (IMZ) and the "Diapason d'Or".

In addition to electrifying performances and exciting repertoire, this fascinating disc offers several world premiere recordings to the Cage canon. Flautist and Cage expert Roberto Fabricciani is joined by percussionist Jonathan Faralli in anticipation of John Cage’s 100th birthday in 2013, turning out a disc that reveals a rich interpretation couched in intimate knowledge of the composer’s game-changing aleatoric music. An historic disc for an historic event.

John Cage's Etudes Australes, performed here by pianist Sabine Liebner, launched a series of virtuoso studies born out of the composer's renewed interest in traditional instrumentation and notation. This complex work consists of a total of 32 etudes divided into four books, which John Cage based on maps of the southern night sky. From these maps, locations of planets were selected via chance and translated into pitches, transforming indeterminacy into a new aesthetic category. For Cage's Etudes Australes, the moment of performance is its only moment of reality. Only what is in the present can be heard: in this case, a constantly changing kaleidoscope of sound.

By releasing the DVD “Birdcage: 73'20.958" for a Composer”, WERGO presents another highlight among the releases marking the composer's 100th birthday:

The legendary film collage, created in 1972 on commission of WDR and SWR on the occasion of the 60th birthday of John Cage and premiered at the Donaueschingen Music Festival, paints an extraordinary picture of Cage the Artist, of his musical and extra-musical thinking, his character and his remarkable oeuvre. The cinematographic composition, which is released here in the unabridged original version for the first time, was realized by the composer and writer Hans G Helms.

Helms assembled various film materials into a special kind of mosaic: Historical flashbacks, biographical milestones and music recordings are complemented by original commentaries of the composer's contemporaries, companions and friends, such as Carolyn Brown, Philip Corner, Merce Cunningham, Teeny Duchamp, Don Gillespie, Doris Hays, Frederic Rzewski, Grete Sultan, Margaret Tan, David Tudor, Yoko Ono, John Lennon, and Paul Zukofsky. The twittering of birds – symbol of the aesthetically unintentional and basic material of Cage's tape composition “Birdcage” – runs like a thread through the film, forming its musical basis.

Produced by IFAGE on behalf of Westdeutscher Rundfunk, Köln, and Südwestfunk, Baden-Baden, 1972.

-- Wergo

Cage's prepared piano music might be better known by reputation than by acquaintance, but this excellent new release, part of Naxos's praiseworthy ongoing exploration of seminal 20th-century works, should persuade more people to step into the composer's eccentric sound-world. Boris Berman gives a sensitive, closely considered performance of the Sonatas and Interludes for Prepared Piano, written in the late Forties, and seems to relish every sound he makes. The very close recording allows the listener to hear every sound and every resonance in minute detail, and it is the strange beauty of the sounds themselves under Berman's tight control that makes this disc such a joy.
- BBC Music Magazine, September 1999