Essential Cage
A piece in which the performer is directed to remain silent for 4 minutes and 33 seconds made American composer John Cage famous – and infamous. His 4'33" is as much a piece of conceptual art and a profound musing on the nature of silence as it is a piece of music: through it, Cage challenged traditional notions of what constitutes music, performance, a concert and above all, silence.
Read more…- Cage • A Room (1943)
- Cage • String Quartet in Four Parts (1949-1950) • I. Quietly Flowing Along
- Cage • String Quartet in Four Parts (1949-1950) • II. Slowly Rocking
- Cage • String Quartet in Four Parts (1949-1950) • III. Nearly Stationary
- Cage • String Quartet in Four Parts (1949-1950) • IV. Quodlibet
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 1
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 2
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 3
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 4
- Cage • Sonatas and Interludes (1946-1948) • First Interlude
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 5
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 6
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 7
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 8
- Cage • Sonatas and Interludes (1946-1948) • Second Interlude
- Cage • Sonatas and Interludes (1946-1948) • Third Interlude
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 9
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 10
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 11
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 12
- Cage • Sonatas and Interludes (1946-1948) • Fourth Interlude
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 13
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 14
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 15
- Cage • Sonatas and Interludes (1946-1948) • Sonata No. 16
- Cage • First Construction (In Metal) (1939)
- Cage • The Seasons (1947) (Version for Orchestra) • Prelude I - Winter
- Cage • The Seasons (1947) (Version for Orchestra) • Prelude II - Spring
- Cage • The Seasons (1947) (Version for Orchestra) • Prelude III - Summer
- Cage • The Seasons (1947) (Version for Orchestra) • Prelude IV - Fall
- Cage • Ad Lib (1943)
- Cage • Jazz Study (1942)
- Cage • Music of Changes (1951)
- Cage • Suite for Toy Piano (1948) • 1. —
- Cage • Suite for Toy Piano (1948) • 2. —
- Cage • Suite for Toy Piano (1948) • 3. —
- Cage • Suite for Toy Piano (1948) • 4. —
- Cage • Suite for Toy Piano (1948) • 5. —
- Cage • Études Boreales (Version for Solo Violoncello) (1978) • 1. –
- Cage • Études Boreales (Version for Solo Violoncello) (1978) • 2. –
- Cage • Études Boreales (Version for Solo Violoncello) (1978) • 3. –
- Cage • Études Boreales (Version for Solo Violoncello) (1978) • 4. –
- Cage • Souvenir (1983)
- Cage • Music for Marcel Duchamp (1947)
- Cage • Concerto for Prepared Piano and Chamber Orchestra (1950-1951) • I. First Part (1-62)
- Cage • Concerto for Prepared Piano and Chamber Orchestra (1950-1951) • II. Second Part (62-124)
- Cage • Concerto for Prepared Piano and Chamber Orchestra (1950-1951) • III. Third Part (124-158)
- Cage • Hymnkus (1986)
- Cage • Imaginary Landscape No. 4 (1951)
- Cage • Credo in US (1942)
- Cage • Dream (1948)
But John Cage was also a proper composer: he studied with Henry Cowell and Arnold Schoenberg, and while dissonance and uncompromising atonality characterize the work of his Serialist contemporaries, his own musical rebellion was quite different. Through his compositions, he changed the way music was perceived and performed, and his striking, inventive and often highly experimental music has had a lasting legacy on those who followed him, including La Monte Yonge, Steve Reich, Philip Glass, Gavin Bryars and Toru Takemitsu. His experiments with electronics and sampling were ahead of their time and paved the way for modern ambient music, while his chance-determined composition – in which the composer follows decisions made by tossing coins or dice, and later computer-generated random numbers – directly influenced the algorithm-driven music of Brian Eno and the like.
Alongside 4'33", Cage's music for prepared piano (an instrument into which nuts, bolts and other objects are placed to alter the sound) still feels new, despite being written more than half a century ago. Through the preparation techniques, the piano is transformed into a percussion ensemble and Gamelan orchestra. Other music for conventional piano includes In A Landscape, written for the dancer Louise Lippold, in which spooling, repeated patterns, combined with the constant use of the sustain pedal, create a haunting sensation of time suspended.
Above all, John Cage reshaped our ideas of what music is and what it can be – and his music is best experienced rather than explained……