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John Cage - Complete Piano Music Vol. 5 - Two Pianos (2000)

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John Cage - Complete Piano Music Vol. 5 - Two Pianos (2000)

John Cage - Complete Piano Music Vol. 5 - Two Pianos (2000)
EAC RIP | APE + CUE + LOG | COVER + BOOK| RAR FILES (3% recovery) | 2CD 366 Mb
Classical | Dabringhaus & Grimm MDG 613 0789-2


John Cage - Complete Piano Music Vol. 5 - Two Pianos (2000)


Tracklist:

CD 1:
1. A Book of Music part 1 (1944) [13:52]
2. A Book of Music part 2 (1944) [21:02]
3. Experience (1944) [3:10]
4. Music for Two (1984/87) [29:42]

CD 2:
1. Two2 (1989) [46:23]
2. Three Dances I (1944/45) [6:22]
3. Three Dances II (1944/45) 7:10]
4. Three Dances III (1944/45) [10:56]

Steffen Schleiermacher [piano] (piano I in Music for Two, piano II in A Book of Music, Experiences I, Three Dances, Two2 – Josef Christof [piano] (piano I in A Book of Music, Experiences I, Three Dances, Two2

This, the 5th issue in the famous Dabringhaus & Grimm edition of John Cage’s music for piano, performed by the brilliant pianist and writer Steffen Schleiermacher, deals with Cage’s music for two pianos, thus requiring – if one do not wish to superimpose two recordings with Schleiermacher – the addition of a second pianist. It’s not easy to level with the stubborn quality of Schleiermacher, but Josef Christof makes a good job out of it.

The compositions herein may be separately grouped into two sections, spaced apart by a very long intermittence of more than four decades. A Book of Music was achieved in 1944. Three Dances and Experiences I were finished in 1945. Not until 1989 do we see the emergence of Two2, which is one of the many possible compositions in the grouping Music for, which he started in 1984, and of which we see many recordings these days, on, for example, OgreOgress productions and Mode.

Before Cage began working with A Book of Music he had refrained from composing music that had to be performed by anyone else than himself, since he was disappointed at the interpreting skills of the musicians among his contemporaries. He constrained himself to writing pieces that could be performed by himself at the piano or conducting a percussion ensemble. This was partly also due to his good reputation with choreographers and dance companies, which were in need of such compositions.
In fact, from 1937 to 1939, Cage worked as a dance accompanist at the Cornish School in Seattle, Washington. This was the time and the place where Cage, out of need and desire, constructed his one-man percussion band; the prepared piano! In the early 1940s Cage and his associate, choreographer Merce Cunningham, moved east to New York, setting out on a series of collaborations. In these collaborative dance company piano compositions, the romantic piano has dwindled and disappeared, as Cage instead concentrated on rhythm, accent and percussive attack.

It was when Cage encountered the piano duo of Robert Fizdale and Arthur Gold that he overcame his hesitation and promptly set about to write two extended works for prepared piano with the aforementioned pianists in mind.

Steffen Schleiermacher notes in his thorough text on this issue that Cage has included compositional properties into the works A Book of Music and Three Dances that he would not usually think of for his own playing, such as broad intervals, fast tone repetitions and racing scales. Cage also indicated that these two compositions were intended for virtuosos. Cage had found them in Robert Fizdale and Arthur Gold, and here we enjoy these hammering, staggering, jerking, scrambling, bopping, very percussive piano works delivered by Josef Christof and Steffen Schleiermacher, in beautifully rendered and recorded versions. My former experience of these works is colored by the pianists Joshua Pierce and Maro Ajemian (A Book of Music) and Joshua Pierce and Dorothy Jonas (Three Dances) on an issue from Wergo; WER 6158-2. Those are also very good recordings, but a little older, finished in late 1980s.

Eric Salzman (composer and writer), in a record sleeve essay, describes A Book of Music thus:
It is a large-scale conception in two main parts, each subdivided into several smaller sections. Part I, in four short movements, is dominated by a tempo of d=66 and a rhythmic structure expressed as 2+7+2+3 and 2+7+2+3+3. Part II, much longer and more complex, has three major sections for the two keyboards in a tempo of d=176 and a rhythmic structure of 5+21+5+7 and 5+21+5+7+7. The second and third of these sections are interrupted by a series of five shorter movements for alternating solo keyboards in the slower tempo of d=132. The effect is that of a very colorful, fantastic music that alternates with highly energetic, rhythmic and virtuosic sections […].

Salzman says about Three Dances:
The Three Dances for two prepared pianos […] is the biggest work of its kind that Cage ever produced. About 36 notes on each piano are prepared with a much greater variety of materials including bolts, screws, pennies, rubber, plastic, weather strips and various kinds of nuts and bolts. The virtuosic writing climaxes in the stormy third movement where open keyboard sounds are mixed in with the prepared piano effects. This is a big, wide-ranging work, difficult to play, rhythmically exciting […].

The music is a bead-like, pearly, meandering flow of wonderfully percussive piano tones, delivered at sometimes staggering speed, in many ways recalling the Southeast Asian gamelan ensembles. The gamelan association is an obvious one, but not just because of the rhythmic values, but also as much for the percussive, metallic resonance that the preparations of the pianos achieve. It’s impossible to be still when hearing A Book of Music or Three Dances. Toes are tapping, fingers are drumming!

Schleiermacher and Christof are truly virtuous interpreters. It’s baffling to slide through these extensive, intensive renditions of Cageian rage! Makes you happy, jolly… elevated!

Experience I is a different story, not only because the pianos are not prepared, The music is slow, repetitious with pauses, conveying a stillness of, perhaps, Japanese mists and rock gardens… but the influence is in fact from Satie, and the playing is effected only on white keys, in the Aeolian church mode. It was written for a Merce Cunningham choreography.

Purely from a listener’s point of view, and without any scholastic knowledge (or with it too; why not?), the music of Music for Two (composed 1984/1987), appears in delicate, dotted lines of beauty and shrill punctuations. This is a shorthand kind of music, where the bowed sections are weighed down or punctuated by the brief attacks, the brief, loud tones decisively delivered. I see a telephone line dotted with starlings.
The first sound you hear is a bowed piano string, played with fishline or horsehair.
This is to enjoy way down in your most comfortable armchair, some cool, clear fluid in a crystal glass within reach – and some silvery time will pass…

Two2 (track 1 on disc 2) introduces still a different approach. If it didn’t, it would be very strange, since it’s written worlds away from the former pieces, as late as 1989!
The work was originally intended for the Double Edge piano duo.
Schleiermacher describes the piece:
Two2 […] has 36 stanzas demarcated by rests, and each of these units has five measures within which strikings are notated in the pattern 5-7-5-7-7. These are not the strikings on one piano but on the two pianos, and they are assigned differently from measure to measure. Whenever tone repetitions appear, they have ties, so that a longer tone is heard instead of shorter repeated tones, and the same applies to chords. The two pianists play independently of each other in tempo but have to wait for one another at the end of each measure before they proceed to the next measure.

Cage made references to Sofia Gubaidulina in connection with Two2: “This piece is in response to a conversation in Leningrad with Sofia Gubaidulina. There is an inner clock.”

Again, from an uneducated point of view (and I suppose I represent the majority of music lovers with that characterization of myself), Two2, in its stillness, can’t help but convey Feldmanesque atmospheres; meditative, in a plasma state, each note equal in meaning to any other note; a waving curtain, transparent with sewed on glass beads, against the sun, against the horizon of the sea, against the expanse of time itself…


Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

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John Cage / Complete Piano Music Vol.5 Disk.1

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

Estrazione File Di Log EAC Del 6. Luglio 2010, 15:46

John Cage / Complete Piano Music

Unità Predefinita: ATAPI DVD A DH16A1L Adapter: 1 ID: 0

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Interfaccia Usata : Interfaccia Nativa Win32 Per Windows NT & 2000

Formato Di Destinazione Scelto: : Routine Interne WAV
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TOC Del CD Estratto

Traccia | Inizio | Lunghezza | Inizio Settore | Fine Settore
––––––––––––––––––––––––––––––––
1 | 0:00.00 | 46:39.20 | 0 | 209944
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Non Sono Stati Riscontrati Errori


Sommario Accuraterip

Traccia 1 Estratta Accuratamente (Confidence 1) [FF08349C]
Traccia 2 Estratta Accuratamente (Confidence 1) [53F1420B]
Traccia 3 Estratta Accuratamente (Confidence 1) [76C7C29C]
Traccia 4 Estratta Accuratamente (Confidence 1) [ADFF4197]

Tutte Le Tracce Sono State Estratte Accuratamente

Fine Del Resoconto Di Stato


download:
CD 1
part 1
part 2
part 3

CD 2
part 1
part 2
part 3

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