Cheap John Cage, Orchestral Works 1 (Music) (Anthony D'Amico, John Cage, Stephen Drury, Ensemble Avantgarde, Fenwick Smith, Michael Miller, New England Conservatory Philharmonia, Petur Eiriksson, Chaim Parchi, Darrell Dunn) Price
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| ARTIST: | Anthony D'Amico, John Cage, Stephen Drury, Ensemble Avantgarde, Fenwick Smith, Michael Miller, New England Conservatory Philharmonia, Petur Eiriksson, Chaim Parchi, Darrell Dunn |
| CATEGORY: | Music |
| MANUFACTURER: | Mode |
| TYPE: | Vocal, 20th/21st Century Orchestral Music, Solo Voice(s) and Small Ensemble, Classical Music, Classical, Classical Composers, Orchestral |
| MEDIA: | Audio CD |
| TRACKS: | John Cage Speaks About 101 - John Cage, 101 - New England Conservatory Philharmonia, Apartment House 1776 - Walter Buckingham/Darrell Dunn/Semenya McCord/Chiam Parchi, Ryoanji - Fenwick Smith/Anthony D'Amico/Michael Miller/Petur Eiriksson |
| # OF MEDIA: | 1 |
| UPC: | 764593004127 |
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Customer Reviews of John Cage, Orchestral Works 1
A good mixture of Cage's orchestral work This disc, recorded over ten years ago now, was one of the early discs in Mode Records' exemplary series of Cage recordings. It features three contrasting orchestral works from the latter stages of Cage's life, and can be considered a good summary of his mature styles.
101 is one of the late 'number pieces'--the title merely indicates the number of performers. In it, while the notes played by the orchestra--and their order--are fixed, the performers have a considerable latitude as to when to play them. Unlike many of the 'number pieces', which are exclusively quiet and meditative works, 101 opens with crashing discords before settling into a more gentle phase. After about nine minutes, the crashing discords re-emerge, and the work then concludes with a near-silent epilogue involving softly-rumbling percussion.
Apartment House 1776 was a Cage contribution to the bicentennial celebrations of the USA. It is one of Cage's anarchic 'musicircus' pieces, where a bewildering variety of performers all play at the same time, with little or no co-ordination between their parts. The musical material is diverse and intended to represent the culture of the USA at the time of independence: distorted versions of contemporary hymns, modified Moravian church chants, drum marches, variations on military melodies, and songs from the Protestant, Sephardic, African-American and Native American traditions. This rendition plays for 25 minutes--it can last as long as the performers wish--and while it is entertaining for a while I find it eventually wears thin.
The third and last work on the disc is one of many versions of Ryoanji, a work where solo instruments trace slow glissandi against a percussive rhythmic backdrop. Here, the four solo instruments are flute, oboe, string bass and a rumbling bass trombone. The backdrop is built from 20 orchestral instruments each reiterating the same note--but slightly out of time with each other so that the rhythms are blurred and the sound becomes fuzzy.
The performances here are good, and the sound surprisingly clear given that 101 and Ryoanji are live performances. Recommended to the curious.