Prom 47 (17.8.12): Cage Centenary Celebration
Friday 17 August at 7.45 p.m.
Royal Albert Hall
CageL 1O1 (12 mins)
Cage: Improvisation III (12 mins)
Christian Marclay: Luggage 2012 – improvisation for orchestra (c5 mins)
Cage: Atlas eclipticalis/Winter Music/Cartridge Music (30 mins)
Cage: Concerto for Prepared Piano and Orchestra (20 mins)
Cage: Four2 (7 mins)
Cage: But what about the noise of crumpling paper ... (15 mins)
Cage: Experiences II (3 mins)
Cage: ear for EAR (Antiphonies) (2 mins)
David Behrman, Takehisa Kosugi, Keith Rowe & Christian Wolff: Quartet – improvisation (c25 mins)
Cage: Branches (20 mins)
John Tilbury piano, prepared piano, Frank Denyer piano, Aki Takahashi piano, Christian Wolff piano, David Behrman live electronics,Takehisa Kosugi live electronics
Keith Rowe,Vicki Bennett,Steve Beresford,Adam Bohman,Jonathan Bohman,John Butcher,Karen Constance
Angharad Davies,Rhodri Davies,Patrick Farmer,Ram Gabay,Christoph Heemann,Lina Lapelyte,John Lely,Anton Lukoszevieze,Dylan Nyoukis, Mariam Rezaei, Robyn Schulkowsky
BBC Scottish Symphony Orchestra
Ilan Volkov conductor
To mark the centenary of John Cage's birth, Ilan Volkov has created a programme that reflects the composer's iconoclastic thinking, fertile imagination and arresting humour. John Tilbury, who has for decades been associated with Cage's work, tonight plays the exquisitely beautiful Concerto for Prepared Paino and Orchestra. Cassette players and plucked cactuses are just two examples of the blindingly original, yet almost naively simple thinking that saw Cage - wittingly or otherwise - upturn practically every musical rule in the book.
Last edited by Eine Alpensinfonie; 01-08-12 at 22:36.
Did John Cage inspire "The Who"? They smashed their guitars in front of the audience. John Cage orders the musicians to damage a grand piano in order to play this concerto.
Originally Posted by Eine Alpensinfonie
As the first book to explain this "delicate topic," WPP shows how piano preparations can be safely applied to a piano without any damage whatsoever to the instrument, and without putting it out of tune.
"Ordering" musicians to do anything doesn't really seem Cage's style, somehow.
Of course. I mean, you can twist the bell of a trombone while putting in or removing a mute if you don't do it properly and with care.
Originally Posted by JohnSkelton
For those wishing to make up their own minds about the Cage/Who connection, here's the first movement of Cage's Concerto, one of his most delicate and beautiful pieces:
And here are The Who performing "My Generation" and destroying their instruments:
Be fair. If the preparations are applied without wearing suitable glove, sweat etc. from the fingers might easily get on the strings and that would lead to corrosion. To that extent, the instrument could be damaged, but I can find no sign in the score of a prohibition re. the wearing of gloves while making the preparations.
Last year I attended a concert at the RCM which included the Cage/Hiller HPSCHD along with such iconic works as Cowell's The Banshee and The Aeolian Harp. Green cotton(?) gloves were worn for all activity inside the piano. Hardly what one might call authentic, what? I bet Henry did not wear gloves while experimenting as part of the process of composition.
A piano tuner friend and ex-colleague gets very heated re. the subject of piano preparation. His ex-wife was fond of preparing his best instrument (one of his pianos, that is) and he blames her for ruining it.
Now reinforcing a Strad. That's what I call damaging an instrument.
In preparation[sic] for the 17th I have been spinning recordings of some of the Cage Uncaged concerts from 2004. Listening to the first of these, I wondered whether EA might have got John Cage mixed up with his mentor Henry Cowell, whose Concerto for Piano and Orchestra certainly is something of a piano breaker. Philip Mead, the soloist at that concert, mentioned how he had broken six strings and done other damage to his own piano while rehearing the piano part. He was putting off getting the piano tuner in until after the performance itself. I wonder what the bill was for restoring the piano used on the night?
Not Philip Mead here (this one is a bit more gentle on the instrument) but is should act as and illustration: