This is a spectacularly well-planned disc, revealing various
facets of the enigma/inventor - the latter Schoenberg’s
term - that was John Cage. We hear works whose sounded surface
is generated by indeterminacy, chaotic juxtapositions and a catalogue
of gorgeous sounds. These include some gorgeous silences created
by the music that surrounds them. Although recording dates are
1971 and 1973, the transfers are immaculate - played blind, I
would defy anyone to place them in that era such is the clarity
on offer. The recorded order works perfectly for straight play-through.
The first of many disorientating things on this disc is the opening
of
Credo in US - which actually starts with the beginning
of the finale of Dvořák’s “New World” Symphony
in an uncredited performance which zooms in and out of focus
while effectively determining the progress of the Cage piece
- as the Dvořák ends, so does the Cage. The 1971
recording is astonishing in its presence and its stereo separation
and effects.
Credo in US was the earliest piece Cage wrote
for his partner in the mid-1940s, the choreographer Merce Cunningham.
Dvořák’s music intertwines with, is subverted
by and complements Cage’s in the most spellbinding way.
Snippets from radio plays are juxtaposed with block piano chords;
jazz suddenly appears - just after twelve minutes - pure and
unannounced. The performance and recording are beyond reproach.
There are other performances available (Col Legno and Wergo)
and they will complement this one perfectly. But at the price
point, this is unbeatable.
The
Imaginary Landscape No. 1 dates from only three years
earlier and is scored for pre-recorded sounds again, but this
time from frequency test discs played on variable-speed turntables.
I agree entirely with the booklet note annotator, Martin Cotton,
that the “unearthly swooping and repetitive phrases, over
a stately rhythmic pulse, give the piece a strangely processional,
ritualistic character” . Spot-on. The actual sounds are
often like - for those old enough to remember - “The Clangers” ,
just with a little more timbral body.
Cage enjoyed experimenting with indeterminacy in the 1950s, and
on top of that he also enjoyed allowing the performance of some
of his pieces literally on top of others. Both are involved in
this recording of the scoreless
Concert for Piano and Orchestra.
There are parts, but no score. Soloist and each instrumentalist
all have parts, randomly generated by chance processes, and the
pages can be delivered in any order. Here the Concert is juxtaposed
with the two Solos for voice (also chance pieces). The result
is truly spellbinding in its randomness. Remember, randomness
itself poses an interpretative dilemma to the performers and
asks them to react to their peers in real time. It is here that
the musicianship of the performers is drawn on, and this performance
is as compelling as any you are likely to encounter. The voice
pieces are superbly “sung” by Bell Imhoff and Doris
Sandrock; they really do take on a shape, too, with climaxes
and plateaux.
Rozart Mix takes longer to explain than it does to listen
to - at least in this performance. The “score” is
actually correspondence between Cage and Alvin Lucier for the
preparation of the first performance. It is scored for “at
least four performers with at least 12 tape recorders and at
least 88 tape-loops” , loops that can comprise speech and/or
music. The piece, in theory, begins with the entrance of the
first audience member and ends with the exit of the last. At
the premiere, it was about two hours long; here, it is a mere
4½ minutes. But what a fascinating, beautiful 4½ minutes
they are. The music here is slow and contemplative, the perfect
chill-out - if I may use that horribly modern phrase - after
the
Concert.
The gorgeous sonorities of the
Suite for Toy Piano make
a powerful effect - but who is the performer? It is bracketed
with the
Music for Carillon in the booklet - hence the
superscripting in the title - but is clearly not for the same
instruments and has a completely different recording date. Moreover,
the booklet notes make mention of the Suite before implying that
the piece on the disc is actually the 1960
Music for Amplified
Toy Pianos. Whoever and whatever it is, it is beautifully
played, making telling use of the gaps between the notes. Timbrally,
it sounds too diverse to be played just on a single toy piano,
even an extensively prepared one..
Finally,
Music for Carillon, a set of three pieces. The
score of No. 1 consists of a sequence of rectangles with dots
in them, indicating pitch on the vertical and time on the horizontal.
The second piece is similarly constructed, but with Cage using
cardboard with holes punched into it; the third is the same as
the second, but with the cardboard turned upside down. The music
is actually supremely beautiful and here the recording quality
really stands out.
A sure-fire winner. Just a pity EMI could not get their documentation
straight.
Colin Clarke