Edwin Alexander Buchholz performs this beautiful work by John Cage on accordion, originally written for the Japanese sho, where sounds are single tones and chords, up to six part harmonies, or as Cage wrote, "sounds brushed into existence as in oriental calligraphy".
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Label: Edition Wandelweiser Records
Catalog ID: EWR 403/4
Squidco Product Code: 21793
Format: 2 CDs
Packaging: Cardstock 4 page foldover
Recorded at Radio Bremen in Bremen, Germany on April 14th and 15th, 2003 by Klaus Schumann.
Edwin Alexander Buchholz-accordian, performer
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• Show Bio for John Cage
"John Milton Cage Jr. (September 5, 1912 - August 12, 1992) was an American composer, music theorist, writer, philosopher, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.
Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946-48).
His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933-35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life - not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living"."-Wikipedia (https://en.wikipedia.org/wiki/John_Cage)
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1. Nr. 1 10:56
2. Nr. 2 12:59
3. Nr. 3 14:52
4. Nr. 4 12:47
5. Nr. 5 10:22
1. Nr. 6 11:32
2. Nr. 7 12:43
3. Nr. 8 10:34
4. Nr. 9 13:11
5. Nr. 10 10:51
sample the album:
"The sounds in one9 are single tones and chords, up to six part harmonies.
How do sounds come into existence, how do they gain focus, how do they resolve, how do they merge into one another, how can one quietly and attentively, in all modesty, follow their unfolding?
These are the questions that guided Edwin Alexander Buchholz in his interpretation of the piece.
Over the years he played one9 time and again - for himself and in concerts. Gradually solutions manifested themselves which he never, at first, would have considered.
It is not simply the case, that this music, which was originally written for shô, the Japanese mouth organ from gagaku music, may also be played on accordion.
Much as the immemorial shô, originated about 4000 years ago, and the modern accordion are related, they are not interchangeable. One9 has been written specifically for shô and first has to find its way to the accordion, in order to become real accordion music.
The accordion is a wind instrument, but also a keyboard instrument, it has stops, its colours are eminently rich and its two sound sources, as long as they are sounding, are always moving: Away from each other, towards each other.
For Edwin Alexander Buchholz one9, in the course of time, grew into a music, that integrated all of this, a music entirely for his instrument: The accordion.
Traditionally the sound of the shô is connected to the heavens' gleam. I have no trouble hearing this quality here, in the sound of the accordion."-Antoine Beuger
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