Comments on: Southwest Chamber Explores, Explains Music by John Cage http://culturespotla.com/2010/01/southwest-chamber-explores-and-explains-music-by-john-cage/ A Selective Guide to the Arts in Los Angeles Thu, 02 Feb 2012 21:24:59 +0000 http://wordpress.org/?v=2.9.2 hourly 1 By: Andreas G http://culturespotla.com/2010/01/southwest-chamber-explores-and-explains-music-by-john-cage/comment-page-1/#comment-502 Andreas G Fri, 29 Jan 2010 00:07:31 +0000 http://culturespotla.com/?p=1565#comment-502 For me 4'33" is an exercise in listening to sounds for what they are. I too found myself at first annoyed at the "noise" makers in the hallway, and trying to figure out where each sound was coming from and it's "significance", until I figured out how ludicrous that was, and tried to just hear each sound at "face value", if you will. After walking out of the Armory onto Raymond Ave., I also heard the sax player and the generalized din of the weekend party crowd in Old Town. I walked around the alleyways in Old Town continuing t try to absorb the soundscape. That's the point of art, isn't it? To present "reality" in a new light that wasn't evident before. One interesting interactiion between the Rauschenberg artwork occurred for me during the first piece. My view of the percussionist was obstructed by audience members in the front rows, so I watched her performance reflected in the glass of one of the Rauschenberg pieces behind her. By the way, the lecture did not discuss the piece "Four", but Wikipedia actually has a fair amount of info on Cage's works. In his later years he composed a series of pieces all named after the number of players in the piece, and all also using elements of chance. For me 4′33″ is an exercise in listening to sounds for what they are. I too found myself at first annoyed at the “noise” makers in the hallway, and trying to figure out where each sound was coming from and it’s “significance”, until I figured out how ludicrous that was, and tried to just hear each sound at “face value”, if you will. After walking out of the Armory onto Raymond Ave., I also heard the sax player and the generalized din of the weekend party crowd in Old Town. I walked around the alleyways in Old Town continuing t try to absorb the soundscape. That’s the point of art, isn’t it? To present “reality” in a new light that wasn’t evident before.

One interesting interactiion between the Rauschenberg artwork occurred for me during the first piece. My view of the percussionist was obstructed by audience members in the front rows, so I watched her performance reflected in the glass of one of the Rauschenberg pieces behind her.

By the way, the lecture did not discuss the piece “Four”, but Wikipedia actually has a fair amount of info on Cage’s works. In his later years he composed a series of pieces all named after the number of players in the piece, and all also using elements of chance.

]]> By: Andrew Paroczai http://culturespotla.com/2010/01/southwest-chamber-explores-and-explains-music-by-john-cage/comment-page-1/#comment-494 Andrew Paroczai Tue, 26 Jan 2010 17:57:48 +0000 http://culturespotla.com/?p=1565#comment-494 Your review was referred to me by Jim Eninger. I thought you did an excellent job. Why did you not comment on 'Four for String Quartet'? I'm guessing, that, like me, you appreciated, liked, were amused, by the other pieces since there was some explanation about how they were constructed. I found the piece dreary, and wanted it to end. Perhaps you can help me with this one. Why did you not comment on the humorous side of the performances? Were you able to see the blank sheets the 'conductor' had for 4' 33"? The actions of the 'performers', eg, laying down of bow and sticks at the start of each 'movement'? Also the humor in Cage's naration/lecture. Perhaps I can guesd-I tried describing it here and for Jim; I certainly can't do justice to what I saw and heard. Thank you for the excellent article. See you February 6. Andy Your review was referred to me by Jim Eninger. I thought you did an excellent job.

Why did you not comment on ‘Four for String Quartet’? I’m guessing, that, like me, you appreciated, liked, were amused, by the other pieces since there was some explanation about how they were constructed. I found the piece dreary, and wanted it to end. Perhaps you can help me with this one.

Why did you not comment on the humorous side of the performances? Were you able to see the blank sheets the ‘conductor’ had for 4′ 33″? The actions of the ‘performers’, eg, laying down of bow and sticks at the start of each ‘movement’? Also the humor in Cage’s naration/lecture. Perhaps I can guesd-I tried describing it here and for Jim; I certainly can’t do justice to what I saw and heard.

Thank you for the excellent article. See you February 6.

Andy

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