Cage, John / David Tudor / Christian Wolff
San Francisco Museum Of Art, January 16th, 1965 [VINYL 2 LPs]
First vinyl release of this historic performance of minimalist music from 1965 recorded for KPFA Radio, bringing conceptual composers John Cage and David Tudor to perform two "Variations", a "Duet for Cymbal", and composer Christian Wolff's "For 1, 2 Or 3 People".
Label: Modern Silence
Catalog ID: OI 014LP
Squidco Product Code: 23055
Format: 2 LPs
Recorded at the San Francisco Museum Of Art, in an Francisco, California, on January 16th, 1965,.
John Cage-composer, performer
David Tudor-composer, performer
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1. John Cage, David Tudor - Duet For Cymbal
1. For 1, 2 Or 3 People (Christian Wolff)
1. John Cage - Variations IV Part 1
1. John Cage - Variations IV Part 2
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"Modern Silence present a live recording, originally broadcast by KPFA Radio from the sculpture court of the San Francisco Museum of Art on January 16, 1965. Coinciding with the 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for cymbal with contact microphones agitated by a wide gamut of objects, and concludes with "Variations IV in" which loudspeakers outside the performance space interacted with speakers next to the audience. Includes a performance of Christian Wolff's "For 1, 2 or 3 People". "-Modern Silence
• 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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• Show Bio for David Tudor
"David Tudor was born in Philadelphia, PA, in 1926. He studied with H. William Hawke (organ, theory), Irma Wolpe Rademacher (piano) and Stephan Wolpe (composition and analysis).His first professional activity was as an organist, and he subsequently became known as one of the leading avante-garde pianists of our time. Tudor gave highly acclaimed first or early performances of worksby contemporary composers Earle Brown, Sylvano Bussotti, Morton Feldman, Karlheinz Stockhausen, Christian Wolff, Stephan Wolpe, and La Monte Young, among others.
Tudor began working with John Cage in the early fifties, as a member of the Merce Cunningham Dance Company and with Cage's Project of Music for Electronic Tape. Tudor gradually ended his active career as a pianist, turning exclusively to the composition of live electronic music.
As a composer, Tudor chose specific electronic components and their interconnections to define both composition and performance drawing upon resources that were both flexible and complex. Tudor was one of four Core Artists who collaborated on the design of the Pepsi Pavilion for Expo '70, Osaka, Japan, a project of Experiments in Art and Technology, Inc. Many of Tudor's compositions have involved collaborative visual forces: light systems, laser projections, dance, theater, television, film. Tudor's last project, Toneburst: Maps and Fragments, was a collaboration with visual artist Sophia Ogielska. Tudor's several collaborations with visual artist Jacqueline Monnier included the development of a kite environment installed at the Whitney Museum (Philip Morris, NYC) in 1986, at the exhibition "Klangraume" in Dusseldorf in 1988, and at the Jack Tilton Gallery in New York City in 1990. Other collaborators have included Lowell Cross, Molly Davies, Viola Farber, Anthony Martin, and Robert Rauschenberg.
Tudor had been affiliated with the Merce Cunningham Dance Company (MCDC) since its inception in the summer of 1953. In 1992, after CageÕs death, Tudor took over as Music Director of MCDC. Merce Cunningham has commissioned numerous works from Tudor, including Rainforest I (1968); Toneburst (1974); Weatherings (1978); Phonemes (1981); Sextet for Seven (1982); Fragments (1984); Webwork (1987), Five Stone Wind (1988), Virtual Focus (1990); Neural Network Plus (1992); and most recently Soundings: Ocean Diary (1994) for what was John Cage's last conception, Ocean.
David Tudor passed away on August 13, 1996 at his home in Tomkins Cove, NY."-David Tudor Website (http://davidtudor.org/Life/biography.html)
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• Show Bio for Christian Wolff
"Christian Wolff was born in 1934 in Nice, France, has lived in the U.S. since 1941. Studied piano with Grete Sultan and briefly composition with John Cage. Associated with Cage, Morton Feldman, David Tudor and Earle Brown, then with Frederic Rzewski and Cornelius Cardew. Since 1952 associated with Merce Cunningham and his dance company. Taught Classics at Harvard (1962-70) and Classics, Music and Comparative Literature at Dartmouth College (1971-1999). Published articles on Greek tragedy, in particular, Euripides. Writings on music (to 1998) collected in book Cues (published by MusikTexte) and in Occasional Pieces (Oxford University Press, in preparation). Active as performer, also improviser with, among others, Takehisa Kosugi, Keith Rowe, Steve Lacy, Christian Marclay, Larry Polansky, Kui Dong and AMM. All music published by C.F. Peters, New York. Much of it is recorded (Mode, New World, Neos, Capriccio, Wandelweiser, Wergo, Matchless, Tzadik, HatArt, etc.). Honors include DAAD Berlin fellowship, grants from the Asian Council, Mellon Foundation, Fromm Foundation, Meet the Composer, Foundation for Contemporary Performing Arts (the John Cage award); honorary degrees from California Institute of the Arts and from Huddersfield University (UK), membership in the Akademie der Kuenste, Berlin, and the American Academy of Arts and Sciences, lifetime achievement award from the state of Vermont."-Dartmouth College (http://eamusic.dartmouth.edu/~wolff/)
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