followed by CD booklet material.
1, 3 Compositions by John Cage: Cheap Imitation; Souvenir; Dream, Romantic Approach: A Special Collection of 20th Century American Music, Cage: Works for Piano & Prepared Piano, Vol.
It is a gentle, slightly haiku-like work. *, By David Cleary, in New Music Connoisseur, Vol.7, No.
Greensye 4794, Scroll down for reviews
Goldstein does exactly that.
Concert, for piano & orchestra, for piano & 13 other instruments in any combination, Ryoanji, for voice, flute, oboe, trombone, contrabass, percussion, chamber orchestra & 2nd voice ad lib. For I associate these intense and seemingly contradictory experiences with the many opportunities I have had in the past eleven years to hear Louis perform Sonatas and Interludes by John Cage.
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* * * Many listeners are conscious of the repetitions during the first several parts of Sonatas and Interludes. Along with this subsonic virtuosity was given a full sensuality which other players have seemed reticent to reveal with concern for preservation of the title “avant-garde.”. Sonatas and Interludes is the capstone, summarizing work of a period John Cage later identified as “intentionally expressive” composition. Sonatas and Interludes demonstrates aspects of musical creativity which have been overshadowed by his work after 1950. The bulk of John Cage’s reputation rests on the innovations he developed in the areas of chance and indeterminacy.
What is especially important is that Goldstein infuses each piece with the transcendental urge that is at the core of John Cage’s art. One scarcely realized that 64 minutes of music had elapsed. nervous system and the rumble of the bloodstream – so too each performance of “sounds in time” (Louis Goldstein’s useful definition of music) must perforce come out differently. Click here to read Six views of the Sonatas and Interludes by James Pritchett, author of The Music of John Cage. Sonatas and Interludes; and Dream by John Cage.
John Cage was one such composer. What made these performances of Louis Goldstein so sublime, including the one he has recorded now, is first of all their intimacy.
It does seem to this listener that in Louis Goldstein, Cage has his Paderewski. Sonatas and Interludes is caught between two worlds, and yields different emphasis from either approach. John Cage did write some music for double bass, or at least pieces specific to a string instrument that can be played on double bass with authority, namely 59 1/2," for a string player (1953) and 26'1.1499," for a string player (1955); the latter piece being rather famously recorded for Nonesuch by Bertram Turetzky in the 1970s. Cage’s “Sonatas and Interludes” eloquently spoke of this, all the more beautifully in the hands of Goldstein — even more so `neath the bowels of the very instrument, with eyes closed in ecstatic wonder. This compact disc recording by Louis Goldstein, to me, is a souvenir of mystical transcendence and carnal ecstasy. Wanting them all is not very faithful to the playful spirit of Cage, who would value their ephemeral beauty most. However, this is the typical piano version, played a tad too quickly by Fabrizio Ottaviucci and not taking full advantage of the numerous fermatas in the piece, with Scodanibbio contributing drones and other background elements, essentially providing harmony where there is none. The music consists of groups of pitches that are allowed to resonate (either by holding the keys down or by using the sustaining pedal); the degree of resonance of the performing instrument determines the rhythmic flow of the piece.
(Greensye 4794 [DDD]; 72:04), * * * * * * * * * * * The majority of early works for this instrument were created to accompany dances by Cage's various collaborators, most frequently Merce Cunningham.In response to frequent criticisms of prepared piano, Cage cited numerous predecessors (such as Henry Cowell).In the liner … I firmly believe that such is the purpose of the best art,…and the ideal of great performers. The work is massive, with clearly defined form, and a grand arch of expression. This is a performance that lifts one out of the dull world created by our exhaustion, gives our senses vitality and reveals the world in all its radiant beauty. 1-10, She Herself Alone: The Art of the Toy Piano, Vol.
* While there is a lot to praise on Stefano Scodanibbio's Wergo offering Dream: John Cage -- and it is moreover beautifully recorded -- the fact that Scodanibbio steps furthest out on the piece that is most clearly described and conventional in form is going to be something of a problem for diehard Cageans, and perhaps others. A modal composition, the patterns alternate between a mode in B and a mode in G. With the use of both the soft and sustain pedals, Cage creates music that seems to suspend time. If you fall in love with this composition as much as you might, you will want to seek out other performances of it. On November 7, in UNC’s Person Hall, Wake Forest University professor Louis Goldstein celebrated American Music Week with an exceptional presentation of John Cage’s complete Sonatas and Interludes.
In addition, the first two interludes have no structural repeats while in the second half of Sonatas and Interludes, the sonatas are treated with slightly more freedom, and the interludes have more structural repeats than do the sonatas. Arefyeva Music History - Icons October 12, 2015 Prospectus John Cage - “Song Books” John Cage was born in 1912 in Los Angeles.
At that time, Cage had been writing two distinctly different kinds of music: twelve-tone instrumental music concerned with questions of pitch organization, and percussion music focusing on rhythm and the exotic sound qualities of the instruments (which included found objects such as …
One would think given that the melodic line is all written in a moderately low register (the original is notated in C clef) that Scodanibbio would have played the whole piece himself, utilizing double stops to express the occasional chords in the piece.
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