Tudor, David

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John Cage Indeterminacy
You don't need to be a fan
impercept minutes
Indeterminacy
best cage recording

Indeterminacy

Manufacturer: Smithsonian Folkways
ProductGroup: Music
Binding: Audio CD

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Variations IV
Cage: Sonatas and Interludes for Prepared Piano
Silence: Lectures and Writings
Insomnia
John Cage: In a Landscape

ASIN: B000001DM2
Release Date: 1992-11-10

Tracks:

Indeterminacy
Indeterminacy

Tracks:

Indeterminacy
Indeterminacy

Album Description

The idea behind Indeterminacy was, like many Cagean ideas, essentially simple and audaciously original. Cage read 90 stories, his speed determined by the story's length. In another room, beyond earshot of Cage, David Tudor, pianist and veteran Cage collaborator, performed miscellaneous selections from Cage's Concert for Piano and Orchestra and played pre-recorded tape from Cage's Fontana Mix. The resulting collaboration is an astounding piece of "music," and a fine introduction to the innovations of John Cage. "A wonderfully curious way to hear stories." - Stereophile

Customer Reviews:

John Cage Indeterminacy.......2007-05-26

There are about 100 recordings of John Cage available at one time or another, and quite variable in performance quality, some (such as Rings with Jay Clayton vocals) are quite nice, others are unfortunately too often disappointing, dull or even jarring. This two-disc stands above the rest as perhaps the most worthy of possessing of Cages recordings and perhaps most clearly exemplifies his musical philosophy. Indeterminacy is a fine example of Cages introduction of Zen into classical music. Chance composition of piano, noises, silences, varied recordings, are friendly unexpected welcome guests to the ear,and are accompanied by 60 very short stories gently spoken by John Cage. Some of the stories are personal, others are Oriental philosophy lessons, and some are about his penchant for mushroom collecting. Some of the stories are in his book; Silence. All are quickly spoken in a voice not dissimilar from Vincent Price! A nice accompaniment to the Alan Watts lectures of the same period.

You don't need to be a fan.......2005-12-04

When still a teenager I ordered a copy of this on vinyl from the States. In those days sea mail took three months to get a package from New York to Australia and I had almost given up when I got the postcard in the mail to say my order had arrived. The cost was astronomical, but I've had no regrets.

The stories are marvellous and introduced me to the monks of India and Japan, a passion for mushrooms and spices, Cage's novel approach to music and sound, the customs men in Holland who allowed John Cage to enter the country backwards to avoid paying duty on his cigarettes, and his friend's delight in the 'ardour' of the Russian ballet performance she had just seen.

In the past twenty-five years, the stories have inspired me to see the world and spend nine years in Japan looking for an old iron gate that some movie star in Hollywood would want to buy.

Please listen to the samples and make your own judgement, but be warned you may become obsessed and see the world a little differently afterwards.

impercept minutes.......2003-09-05

each frame is a single minute... the rapidity of voice and pauses follow... with interjection of found sounds like small monks breaking wind from their toadstools

Indeterminacy.......2003-01-10

John Cage, sounds, voice. How to come up with a phrasing of this language? First a grid and then its failure? Too simple a step to explain "Indeterminacy". But an explanation must accompany if it is to become common between us. But what if what is common between us is a fact we will never know as fact (Gertrude Stein comes to mind)? That we can't know it. What if it is a solitude so total, a solitude in which the other of a voice, our own, or not-it could be a window looking back-we will never know whose it is? Only the instantaneous finality of its invisible hand. Many voices, and the reduction even to voice will never get away with its project finally. Here we are nothing amongst nothing. If I were to dedicate this to John Cage's "Indeterminacy", if I were to bear witness to it as he did, I would send him the sound of my fingers pressing keys and the airplane out the window, the adherent leaves quivering dead in the wind. His piece would be in the background as translated through what I hear. That is, the piece, any piece (flesh only steps up in afterthought, an enthymeme to stun the senses from their center into the pieces that they always have been before the hammer of cornerstones. It has nothing to do with language poetry. It is slow and semiotics has no respect for the phenomenal. Neither have time. Time is an afterthought. They are in tension, but need not be at peace or war. The challenge is to let their tension speak for itself. This is too philosophical for a poem and it is why I have given it to a paragraph. (Sorrowfully). One must justify one's motives, one's method. One must take care to be sure that this step and that are covered, and we will do so even if self-reflexive writing becomes an anachronism. There is nothing pretty in the above save maybe the leaves. And the recognition that they are phrases. I cannot write the sound of the ring as it taps on my desk. When the cat leaps to the floor, my head turns to the scene before I tell it to. The above is Buddhist enough to incite one to comfort in any possibility, but I am still worried about the milk coming in the morning and the trace disturbances echoing from my feet and eyes. The quiver I noted in the stutter that tried to hide itself, that I noted only after the question of disclosure had been tabled. On a mediocre night when I only wanted space to be filled, Cage said nothing to me in the strong sense. The one directive: at least offer a benediction. An old shoe would go well in here.

best cage recording.......2001-11-01

This album changed my whole way of thinking about music when I was 19. It adroitly describes and explains Cage's thinking through practice and example, as well as entertains the listener.

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An outstanding Cage collection
pretty bad

Cage: The Piano Concertos, Fourteen

Manufacturer: Mode
ProductGroup: Music
Binding: Audio CD

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Rochberg: String Quartets Nos. 3-6
Cage: Sonatas and Interludes for Prepared Piano

ASIN: B000000NZA
Release Date: 1997-02-18

Tracks:

Con: 1st Part
Con: 2nd Part
Con: 3rd Part
Concert - David Tudor
Fourteen

Customer Reviews:

An outstanding Cage collection.......2004-01-07

This disc, in Mode's ongoing survey of John Cage's output, is entitled 'The Piano Concertos.' Of course, Cage being Cage, none of these works is a piano concerto as we conventionally know it: the Concerto for Prepared Piano and Chamber Orchestra comes closest, the Concert for Piano and Orchestra is a collection of individual solos, and Fourteen, while scored for piano and thirteen instruments, features a piano played by bowing the strings with rosined nylon fishing line instead of by depressing the keys.

The Concerto for Prepared Piano and Chamber Orchestra, written in 1951, is a transitional work, bridging the gap between Cage's early, often-modally-flavoured works and the middle-period work based on chance procedures. It follows something close to a traditional concerto format, with three movements: in the first movement prepared piano and orchestra alternate playing distinctly opposed material; this continues in the second movement, though the prepared piano material is closer to that of the orchestra. In the finale, prepared piano and orchestra play together for the first time, but instead of a grand conclusion we get music broken up by long silences. Comparing this recording to Margaret Leng Tan on ECM, we find a slower performance but a generally more aggressive sound world; Drury's piano preparation makes the piano sound more percussive than Tan's. I like both performances and would not nominate either as significantly preferable (though Tan's may be easier on the ear to those new to Cage).

The Concert for Piano and Orchestra, written in 1957 and 1958, is one of the key works of Cage's chance-procedure period. It is a collection of solos, any number of which may be played or omitted (even the piano part may be omitted). Most of the solo parts may be realised in a variety of different ways, and each performer can start at any point in his or her part. Just to add to the complexity of realisation, there is a part for conductor, whose role it is to modify the performers' interpretation of their parts. Inevitably a work such as this is highly dependent on the performers to produce a rendition that is appropriate to Cage's aesthetic, and this is one place where the current reading scores, featuring the long-time Cage collaborator David Tudor--in his last ever recording--on piano (in this recording, unlike his others, he also "plays" live electronics). Support comes from the Ensemble Modern, conducted by Ingo Metzmacher (also avant-garde veterans). As for the performance itself, it gives off the feel of good-humoured anarchy, with much to entertain and tickle the ear, if little sign of any overall form--it may not be Great Music, but it's a lot of fun.

The last piece on the disc is Fourteen, written in 1990. This is one of Cage's late 'number pieces', where each instrumental part has its own score, indicating ranges of time in which to play single notes or short phrases. Like most of the number pieces, in performance the work comes off as a largely slow-moving texture of gradually shifting harmonies. Largely uneventful (though there are some nice percussion moments), this is a peaceful, meditative work, shot through with the distinctive sound of the bowed piano.

This is an outstanding Cage collection, covering strong works from three of the composer's major stylistic periods. With excellent performances from performers well-attuned to the idiom, it's an easy recommendation for anyone attracted to Cage's music.

pretty bad.......2001-12-24

This thing squeaks and rumbles along for what seems like hours, and then somebody will scream or start torturing a dog, and it scares the daylights out of you. I usually like Cage's prepared piano pieces, but this is mostly stupid noise.

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david tudor: brilliant creator of new worlds
This piece has what all great music has!

Rainforest
David Tudor
Manufacturer: Mode
ProductGroup: Music
Binding: Audio CD

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Rainforst II/Mureau
3 Works for Live Electronics

ASIN: B000005ZKA
Release Date: 1998-05-19

Tracks:

Version I: Rainforest Version I (1968)
Version IV: Sliding Pitches in the Rainforest In The Field: Rainforest Version IV (1973)

Customer Reviews:

david tudor: brilliant creator of new worlds.......2003-06-01

With Rainforest, his breakthrough piece, he was experimenting with the idea of getting sounds from objects, not just speakers, by running electricity through them.

I feel like this amazing piece exists phenomenally between & outside the argument of complete control music & aleatory. The music comes from a real physical space, completely locked within that large space the composer built, so it has that controlled structure, but once it's going the composer doesn't have any more to do with how it acts, how exactly the objects respond to the electricity. If you ask me, this is one of the most pivotal electronic pieces of the 20th century.

This piece has what all great music has!.......2002-04-26

Abstract beauty, a profound and surprising composition, reference to the real world and really it created or solidified it's own genre and has spawned many imitations.

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beauty, simplicity, and utility
Words and Music Marry in Siegfried's Arrangements

Gentle Words: Shaker Songs
Polly M. Rupe , John Whitbey , Issachar Bates , David Stutz , Ann Glusker , Lisa Cardwell Ponten , The Tudor Choir , and Doug Fullington
Manufacturer: Loft Recordings
ProductGroup: Music
Binding: Audio CD

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Simple Gifts: Shaker Chants and Spirituals
Simple Gifts
Early Shaker Spirituals
Tree of Life
The Shapenote Album

ASIN: B00005JIZK
Release Date: 2001-06-05

Tracks:

I Will Bow And Be Simple
In Yonder Valley
All Is Summer
O Lord Make Me Pure
Love Is Little
The Burning Day
Circular March
Help Me, O Lord
Heavenly Display
Followers Of The Lamb
Come To Zion
We Must Be Meek
Lay Me Low
Solemn Song
Beautiful Treasure
Peace
Angels Of Heaven
Hunger And Thirst
Dismission Of Great I
Revelation
Prayer For The Captive
Gentle Words
Beautiful Valley
Jubilee
Ezekiel's Vision
Almighty Savior
Cords Of Love
I Will Go On My Way

Customer Reviews:

beauty, simplicity, and utility.......2001-09-12

Of this CD's twenty-eight tracks, eighteen are arrangements by Kevin Siegfried; the remaining ten are straightforward, unadorned performances of Shaker hymns, sung either by the choir in unison, or by a solo voice, as they would have been sung in Shaker services. Occasionally the choir stomps and claps, also as the Shakers would have done. The unison songs and Kevin's settings blend seamlessly together, since Kevin's music is very sensitive to the spirit of the original tunes. His harmonies have an open, rough-hewn quality to them, like early American furniture, sturdy and useful. The music carefully mirrors and supports the text, occasionally employing mixed meter to follow the natural cadences of speech. The settings are largely homophonic, like Lutheran chorales, rendering the text easily comprehensible. Kevin avoids unnecessary embellishments and repetitions, and each piece is a small, well-proportioned gem, averaging about two minutes in length. In the liner notes, Kevin writes of his desire to preserve the Shaker ideals of "beauty, simplicity, and utility" in his settings, and he has succeeded brilliantly; the music is unassuming, serene, and peaceful.

Words and Music Marry in Siegfried's Arrangements.......2001-06-27

This recording of Shaker Hymns arranged by composer Kevin Siegfried and sung by the very fine Tudor Choir of Seattle is magnificent for several reasons chief of which is the careful blending of text and music in the arrangements. The "gentle words" of these hymns come alive through Siegfried's thoughtful soundscapes, providing the right context for the message of these poignant and life affirming hymns. This is no small task and although the Tudor Choir sings beautifully throughout, it is the arranging that has really caught my ear on this cd; you'd be hard pressed to find a recording of choral works with a better marriage of text and music. Well worth your money, time, and ears.

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Prefer the Electronic Version
This Is Probably Stockhausen's Best
Certainly the work of a mad man
masterpiece from heaven
it sounds like this: -l-l-l-l-l-l-l-l-

Stockhausen: Kontakte No12

Manufacturer: Wergo Germany
ProductGroup: Music
Binding: Audio CD

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Stockhausen: Mantra
Stockhausen: Stimmung
Stockhausen: Aus dem sieben Tagen
Kurtag: Gruppen, Grabsteinfur Fur Stephan, Stelle, Claudio Abbado [Import]
Boulez: The Three Piano Sonatas

ASIN: B000025R06
Release Date: 1993-12-08

Tracks:

Kontakte: Teil 1
Kontakte: Teil 2

Amazon.com

One of the ironies of German composer Karlheinz Stockhausen's career is the way in which his radical approach to music--once the epitome of the most esoteric avant-gardism--has been filtered into popular culture. The influence of this visionary pioneer of electronic music extended to the studio experiments of the Beatles (particularly in Sgt. Pepper's) and can still be heard in the sampling of today's techno records. The seminal Kontakte (1959/1960) introduced a brave new world of aural experience, replacing traditional music's linear flow of development with the concept of "Moment Form"--Stockhausen's catchphrase for concentrating on the validity of the "now," of each particular musical gesture independent of its larger context. He originally conceived of the work as purely electronic sounds, but this second version introduces two live players (a pianist and percussionist) interacting--in points of "contact"--with a prerecorded array of frequencies. On first impression, Kontakte may seem nothing more than a 35-minute babble of chaotic noises (though it is, paradoxically, planned to a very high level). Forget about the theory, forget about the once-utopian dreams of giving music the prestige of scientific objectivity, and just listen to the stream of electronic burps, squawks, whizzes, and--toward the conclusion--serene cloudlike mists as they metamorphose. It's a stunning soundscape and document of a particularly potent period of revolution in modern music. --Thomas May

Customer Reviews:

Prefer the Electronic Version.......2006-01-07

I much prefer the all-electronic version of Kontakte: it's the same as the electronic parts you hear on this recording, only without the piano or percussion. The interaction of the acoustic instruments with the electronic parts on tape starts to seem predictable--the tape plays for a while then the pianist stabs out some violent staccato bits, the percussionist hammers out some violent staccato bits, then the tape plays a bit longer and the pianist responds with some violent staccato bits, and/or the percussionist hammers out some violent staccato bits...

I have the all-electronic version on an old DG vinyl recording. It can be very lyrical at times, and even though it's supposed to be completely "in the moment", eschewing old-fashioned compositional form, it nevertheless flows and evolves and feels like it has an inner musical logic. Or maybe the musical moments are just more musical. It's remarkable what Stockhausen could coax out of the primitive electronic sound-producing gizmos of the time.

The problem is that the electronic version is available on CD only from Stockhausen Verlag, which means you have to order it directly from Karlheinz himself for $30 plus $18 handling charges. But hey, a 180-page booklet is included! Nevertheless, I'm almost thinking of ordering it; in any event I'd rather spend the extra money to get the electronic version, which has moved me greatly over the years, than to spring for this electro-acoustic version which leaves me completely uninspired.

This Is Probably Stockhausen's Best.......2005-11-13

I like this one or _Mantra_ best out of the ones I've been able to get my hands on. And that's the beauty of Stockhausen: you like each piece on its own terms. Each piece comes from its own set of suppositions, guaranteeing a unique experience every time. This one here is certainly one of the scariest pieces, but this is a horror that is transformative as you realize that the uncanny electric glissandoes are perfectly in tune with the glissandoes of the human psychic mechanism.

Certainly the work of a mad man.......2005-10-30

Stockhausen is without doubt the pioneer of electronic music. I would venture to say that he would be more influential than The Beatles who are often tagged as influencing everyone. But having listened to this work, you can't help but feel, on first listen, that this is an extremely random, alienating listening experience. Is it good? On first listen you may not think so. But with repeated listens it gradually makes a little more sense. But it still feels impossibly random and you don't know where the next sound is going to come from. In a way this is more like a horror movie played through music in that you truly don't know what's going to happen next. And the fact that with repeated listens you still have no clue either makes this a work of eccentric genius that should be hailed or as has being quoted one time whether someone heard of Stockhausen's music " I don't think I've heard any but I believe I have trodden on some." So your ears are needed here to make out what you think is right option.

masterpiece from heaven.......2005-03-16

basicly this a wild and unpredictable ride that never slows down its qa masterpiece from god!

it sounds like this: -l-l-l-l-l-l-l-l-.......2002-05-20

This music strives to be upredictable. No element wants to reveal where the next will go. In fact, while listening to it, the best you can do to predict direction is to reason that where a section seems like it will go is the opposite of where it will. The music directly juxtaposes sounds that are almost attacking with ethereal bits & surprising electronic things. Stockhausen's description of the aim of the piece is that it not resolve or have any noticeable build toward climax, that it present the standard horizontal perception of time with thorough verticality, which results in a sense of timelessness. It's so...[almost] random that it's not music that ever fades into the background. That it's always surprising makes you stare at the speakers for answers until the cd ends without warning.

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Entertaining
An interesting mix of sounds. Musique Concrete at it's fines
If you love John Lennon's "Revolution 9", you'll love this.

Variations IV

Manufacturer: Legacy
ProductGroup: Music
Binding: Audio CD

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Indeterminacy
John Cage: Music for Prepared Piano, Vol. 2
Cage: Sonatas and Interludes for Prepared Piano
Xénakis: Pléïdes
John Cage Visual Art: To Sober and Quiet the Mind

ASIN: B000002NTV
Release Date: 2000-01-01

Tracks:

Performance Introduction
Excerpts - 7pm to 8pm
Excerpts - 8pm to 9pm
Excerpts - 9pm to 10pm
Excerpts - 10pm to 11pm
Excerpts - 11pm to 12am
Excerpts - 12am to 1am

Customer Reviews:

Entertaining.......2006-02-10

This is a low-fi recording of a sound collage event that took place in Los Angeles in 1965. A bunch of pre-recorded tapes were triggered and overlaid in real time using chance operations. This CD contains excerpts from the six hour performance.

Cage was sincere about process over product. He reportedly didn't listen to records (of his own music or anybody else's). I think this CD is fun, but since there's no intentionality to the sound constructions it's hard to grade. I think the last two tracks are the best blend of the source material (the same tapes keep popping up in different tracks) but if you appreciate media collage you'll enjoy the whole thing. Be warned, though, that this is not "soundboard" quality -- sounds more like somebody set a tape recorder in the middle of the room.

An interesting mix of sounds. Musique Concrete at it's fines.......2002-01-07

I purchased this CD on the sole recommendation that it was by John Cage, an artist I had read a lot about in my studies in the field of Electronic and Experimental Music. This piece was mentioned often as a great example of the chance elements of sound-work.

It was a great influence on my work. And it will be on yours, too, if you just give it a chance!

If you love John Lennon's "Revolution 9", you'll love this........1999-11-06

This type of music is an amazing trip through an audio landscape. After several plays of this disc, you'll find yourself making the most fascinating, improbable mental connections between different sound sources. A fun disc. It may even inspire you to create something similar.

The 25-Year Retrospective Concert of the Music of John Cage

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The ideal starting point if you are new to Cage
A primary document of the American avant-garde

The 25-Year Retrospective Concert of the Music of John Cage

Manufacturer: Wergo Germany
ProductGroup: Music
Binding: Audio CD

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John Cage: Music for Prepared Piano, Vol. 2
Silence: Lectures and Writings
George Crumb: Orchestral Music
John Cage: Music for Percussion
Stockhausen: Mantra

ASIN: B000025SHL
Release Date: 1995-01-17

Tracks:

Six Short Inventions for Seven Instruments - Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown...
First Construction in Metal - David Tudor
Imaginary Landscape No.1 - Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown...
The Wonderful Widow of Eighteen Springs - Arline Carmen/John Cage
She is Asleep - Paul Price/Michael Colgrass/Warren Smith/Philip Brown
She is Asleep - Arline Carmen/John Cage

Tracks:

Sons & Interludes: Sons I
Sons & Interludes: Sons II
Sons & Interludes: Sons III
Sons & Interludes: Sons IV
Sons & Interludes: Interlude
Sons & Interludes: Sons V
Sons & Interludes: Sons VI
Sons & Interludes: Sons VII
Sons & Interludes: Sons VIII
Sons & Interludes: Second Interlude

Tracks:

Music for Carillon No.1 - David Tudor
Williams mix - Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown...
Con for Pno & Orch - Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown...

Amazon.com essential recording

Hard to believe that as early as 1958 there was a 25-year retrospective concert of John Cage's music. But this 3-CD set documents both the concert and its meaning for the history of New Music. Organized by no less than Jasper Johns, Robert Rauschenberg and Emile de Antonio, the event sparked heated controversy--some of it documented in the crowd's reaction to Cage's early tape- music piece, Williams Mix. The expansive booklet accompanying the CDs includes loads of prescient commentary, much of it from Cage himself. Most telling is the simple formulation: "New Music. New Listening. Just an attention to the activity of sounds." Cage's earliest-prepared piano sonatas are abbreviated with clangorous, percussive results, and the Concerto for Piano and Orchestra sprawls noisily in myriad directions. The sound is broad and warm for a 40-year-old live recording, and this is a cornerstone document of post-World War II art. --Andrew Bartlett

Customer Reviews:

The ideal starting point if you are new to Cage.......2002-12-11

This is perhaps one of the most important documents of American Music ever recorded, the Composer John Cage will undoubtedly be veiwed in future eras as not only the most important American composer of all time, but one of the most important Composers of all time. Until this time, also the work of Edgard Varese, Pierre Schaeffer and Karlheinz Stockhausen, all music in "the west" written after Bach could have been found in Bach, it was even said if all music was lost as long as Bach remained it could all be discovered again. Here's where everything changes. To really appreciate Cage's music it is best to hear him or David Tudor perform or "conduct" it, they are both onboard here for this excellent three C.D. set. Most of Cage's major works are represented here, his percussion pieces, his prepared piano, even his tape music. Start here, then get Indeterminancy, Roaratorio, more preapared piano pieces, and Cartridge music. But DO start here, there are too many poor interpretations of Cage's music available, you can't go wrong with this. And if you already know Cage's music but don't own this, then you should be ashamed of yourself.

A primary document of the American avant-garde.......1999-04-10

It was painters Jasper Johns and Bob Rauschenberg who helped arrange this, what today is a monumental document of the American avant-garde. And this was in the late Fifties a time when these American artists had very little money. Here we have all the Cage classics. The "Sonatas and Interludes" for pre-pared piano speaks for itself. Cowell suggested this idea to Cage. So Cage while working on dance accompaniments where no percussion instruments could be played,saw the availability of a piano. He began placing various screws and erasers between the strings. The sound is gamelan-like with thuds,knocks,clings and pings. But also very beautiful even enchanting. Also "Williams Mix" is here a very early electronic piece made from the ancient art of splicing tape together in an indeterminate fashion. I believe Earle Brown had helped. "The Wonderful Widow of Eighteen Springs" is also fascinating where the pianist closes the piano lid to strike 5 various parts of the front piano seated. The effect is not quite bongo-like more dull and thudy with a disarming folksy plain vocal lines singing Joyce. Pure simplicity was an early Cage fascination which has not lost its power to evoke. The mammoth "Concert for Piano" is also here a seminal work conceived of various graphic(almost encyclopedic) procedural ways of playing. Cage had identified some 40 odd ways of attacking,rolling verticalities and horizontialities on the piano keyboard. The work is also a pure graphic feast for the eyes, a delight. The orchestral accompaniment(we really cannot call it that) is made of independent solos,trombone,violin with no direct synchronization. And can be played with or without the piano or these various instruments. But the effect can be anarchistic(non-political) mesmerizing,humorous,dead serious all simultaneously,or not,depending on the performer's energy levels. Cage had opened a chasm of libertarian performing and conceptual creative fluidity that hasn't been closed yet. His open creativity continues to inspire and redirect itself through succeeding generations. This is a monumental document from the earliest days of the high avant-garde reflecting the full scope of these new aesthetic freedoms,or a turn away from an aesthetic object. Perhaps we will know someplace in between.

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Lush Life

Manufacturer: Tudor
ProductGroup: Music
Binding: Audio CD

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ASIN: B00007KKME
Release Date: 2006-02-14

Tracks:

I'm Beginning to See the Light
Lush Life
My Man's Gone Now
Corcovado
Oleo
My Foolish Heart
Variations About a German Lullaby
Very Early
I'm Old Fashioned
Song Is You
Wave
My Funny Valentine
Velas
I Mean You
Elm

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Silence please!
Georgia Stone the best antiwar composition to date
unknown..but i'm real excited
What? 183 tracks? What for? There is a reason...

Chance Operation: The John Cage Tribute

Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

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Live In New York
Glass: Heroes Symphony; The Light
Sangam
My Life in the Bush of Ghosts
Djin Djin

ASIN: B000001SH6
Release Date: 1993-11-18

Tracks:

Excerpts For Thirty Pieces For String Quartet
Excerpt From Thirty Pieces For String Quartet
Three Dances For Prepared Piano, Dance #1
Dance 2: Three Dances for Prepared Piano
Dance 3: Three Dances for Prepared Piano
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
First Four-Language Word Event in Memoriam John Cage
Six Melodies Variation for Solo Violin
Six Melodies Variation for Solo Violin
Six Melodies Variation for Solo Violin
Six Melodies Variation for Solo Violin
A Cage Went in Search of a Bird
A Cage Went in Search of a Bird
A Cage Went in Search of a Bird
A Cage Went in Search of a Bird
A Cage Went in Search of a Bird
A Cage Went in Search of a Bird
A Cage Went in Search of a Bird
A Cage Went in Search of a Bird
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Concert for Piano and Orchestra: Three Solos for Trumpet
Cunningham Stories (At the Age of Twelve...)
Cunningham Stories (At the Age of Twelve...)
Cunningham Stories (At the Age of Twelve...)
Cunningham Stories (At the Age of Twelve...)
Cunningham Stories (At the Age of Twelve...)
Cunningham Stories (At the Age of Twelve...)
Cunningham Stories (At the Age of Twelve...)
Cunningham Stories (At the Age of Twelve...)
Haiku FM
Haiku FM
Haiku FM
Haiku FM
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Art is self-alteration is Cage is...
Music for the Merce Cunningham dance Shards: Webwork
Music for the Merce Cunningham dance Shards: Webwork
Music for the Merce Cunningham dance Shards: Webwork
Music for the Merce Cunningham dance Shards: Webwork
Music for the Merce Cunningham dance Shards: Webwork
Music for the Merce Cunningham dance Shards: Webwork
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone
Georgia Stone

Tracks:

Cunningham Stories (Merce Cunningham Phoned His Mother...)
Cunningham Stories (Merce Cunningham Phoned His Mother...)
Cunningham Stories (Merce Cunningham Phoned His Mother...)
Cunningham Stories (Merce Cunningham Phoned His Mother...)
Oregon: Chance/Choice
Oregon: Chance/Choice
Chance/Choice
Chance/Choice
Chance/Choice
Chance/Choice
Seventy-five Letters & Improvisation
Seventy-five Letters & Improvisation
Seventy-five Letters & Improvisation
Seventy-five Letters & Improvisation
Seventy-five Letters & Improvisation
Seventy-five Letters & Improvisation
Seventy-five Letters & Improvisation
Seventy-five Letters & Improvisation
Living Room Music
Living Room Music
Living Room Music
Living Room Music
Living Room Music
Living Room Music
Living Room Music
Living Room Music
Ergodos I for John Cage
Ergodos I for John Cage
Ergodos I for John Cage
Ergodos I for John Cage
Ergodos I for John Cage
Ergodos I for John Cage
Cunningham Stories (Every Morning...)
Cunningham Stories (Every Morning...)
Cunningham Stories (Every Morning...)
Cunningham Stories (Every Morning...)
Cunningham Stories (Every Morning...)
Cunningham Stories (Every Morning...)
Cunningham Stories (Every Morning...)
Factory Preset
Factory Preset
Factory Preset
Factory Preset
Factory Preset
Factory Preset
Factory Preset
Factory Preset
Factory Preset
Factory Preset
Factory Preset
4'33
4'33
4'33
4'33
4'33
In Memoriam John Cage
In Memoriam John Cage - Call Waiting
In Memoriam John Cage - Call Waiting
In Memoriam John Cage - Call Waiting
In Memoriam John Cage - Call Waiting
In Memoriam John Cage - Call Waiting
In Memoriam John Cage - Call Waiting
In Memoriam John Cage - Call Waiting
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Aria
Cunningham Stories (The Cunningham Company...)
Cunningham Stories (The Cunningham Company...)
Cunningham Stories (The Cunningham Company...)
New York City
New York City
New York City
New York City

Customer Reviews:

Silence please!.......2006-08-30

My only reason for buying this CD is the track 4:33 by Frank Zappa. 4:33 minutes of total silence, well almost total silence because you can hear a little background noices in the control room of Frank. It is a very interesting cd. But if you are not a fan of Zappa or Cage, and you like to hear music I say: buy something else. If you are ready for an experiment: buy this one or the CD Roaratorio.

Georgia Stone the best antiwar composition to date.......2002-12-15

The whole collection is interesting. However, the great moment of this collection is the Ono contribution Georgia Stone. It's a fluxus symphony. Never have I heard a more poignant antiwar piece. It rates in power and beauty to Henryk Gorecki's Symphony #3 with soprano Dawn Upshaw. If anyone ever doubted the genius of Yoko Ono as being relevant and an artist of the highest calibre then listen to this masterpiece and you'll be jolted into her energy as an artist. Yoko, give us more of this kind of music.

unknown..but i'm real excited.......2001-06-05

Jspark wrote a review that totally grabbed my intrest..I did my senior art history project on John Cage..using random sheets of paper for the lecture. the idea of hitting the "random button" is a great idea..and the idea of running two disks at once is even neater..being a big fan of just about everybody on the cd..especially Laurie Anderson doesnt hurt either... I haven't heard it yet, but i think i'll be sticking with the 5 star rating.

What? 183 tracks? What for? There is a reason..........1999-08-03

It might be bewildering at first. The first disc has 98 tracks; the second, 85. If you listen straight through, you do not perceive any discontinuity. A collection of John Cage pieces performed by friends, collegues, and admirers. Frank Zappa (American composer [complete biographical blurb that he provided]) contributed 4'33". Laurie Anderson tells a few Merce Cunningham tales. Seems like a fun tribute from the git-go. But wait! (And this is where the fun begins!) Switch your CD player to the shuffle (random) mode. Now look what happens. It goes from, say, Yoko Ono's piece to the Kronos to the Moraz prepared piano performance to Ken Nordine's narration - all in the matter of seconds. It is a great to homage to Cage himself with the great use of the random chance operations that he might have enjoyed. Every performance of this disc becomes a unique experience (just like Cage). For even more fun, try playing both discs at the same time (provided, of course, you have the means; if not, improvise). Or add another sound source as well, like, say, the radio, or the television very low, or a tape of white noise. The possibilities are endless. I had the pleasure of trying this one day with FOUR players going on simulataneously: two with these discs, another with Miles Davis far in the background, the fourth with a disc of bird calls. It was quite a fun sound environment and I would not hesitate to try it again. But that was my experience. Your experience may be different.

Average customer rating:

Morton Feldman: The Viola In My Life

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Morton Feldman: Rothko Chapel; Why Patterns?
Morton Feldman Says: Selected Interviews and Lectures 1964-1987 (New Series)
Give My Regards to Eighth Street: Collected Writings of Morton Feldman
Earle Brown: Selected Works 1952-1965
Morton Feldman: Complete Violin|Viola and Piano Works / Christina Fong, Paul Hersey

ASIN: B000J0ZPDS
Release Date: 2006-11-01

Tracks:

The Viola in My Life (1970): Part I 12:08
The Viola in My Life (1970): Part II 9:49
The Viola in My Life (1970): Part III 6:01
False Relationships and the Extended Ending (1968) 16:02
Why Patterns? (1978) 30:27

Product Description

The music on this recording illustrates the essential integrity of the work of Morton Feldman and one of its fundamental strengths--its continuously unfolding unanimity of purpose. There are few composers of his generation whose first and last published work (in Feldman's case Journey to the End of Night of 1949 and Piano and String Quartet of 1986) span youth and final years with such a concentrated viewpoint. There are, however, landmarks in the music of Feldman that are largely technical and notational. There are the graphic pieces, the first from 150 and the last from 1964, in which some parameter of composition is not specified (often pitch). Thee are the "free duration pieces," both solo and ensemble, in which there is instruction either for sections of the piece or for its entirety. False Relationships and the Extednded Ending (1968) is a late example of this kind, although Why Patterns? (1978) is a variant of the principle. Thee are also the conventionally notated works in his oeuvre, one of which is The Viola in My Life. It may be that Feldman's music will always strike a certain kind of listener as idiosyncratic--adenial of the time-honored ways in which music articulates itself. I think that Feldman was deeply offended by this response, by this notion that his music was singular because it was, as some might say, "missing something." Though it is true that his values of graduation can be exceedingly fine, when one enters this scale and comprehends it, something truly new and wonderful opens up in the art of music--a wold in which the relative and absolute become engaged with themselves. (This recording was orginally issued as CRI CD 620)

Music Composers:

Music Composers

Music Composers