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Cage, John: Two2 (Another Timbre)

One of a handful of John Cage's number pieces, this work for two pianists follows the forms of Renga poetry, composed with 36 lines of music, each containing 5 measures, and each line having 31 events occuring in the sequence 5-7-5-7-7, with the pianists allowed their own tempo but waiting to synchronize each measure, as performed by Mark Knoop and Philip Thomas.
 

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product information:


Label: Another Timbre
Catalog ID: at124x2
Squidco Product Code: 25894

Format: 2 CDs
Condition: New
Released: 2018
Country: UK
Packaging: Cardboard Gatefold 3 Panels
Recorded at St. Paul's Hall, at the University of Huddersfield, UK, on March 16th, 2017, by Simon Reynell.


Personnel:

Mark Knoop-piano

Philip Thomas-piano

John Cage-composer

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Artist Biographies:

"London based pianist and conductor Mark Knoop is known for his fearless performances and individual interpretations. He has commissioned and premièred countless new works and worked with many respected composers including Michael Finnissy, Joanna Bailie, Bryn Harrison, Bernhard Lang, Matthew Shlomowitz, Jennifer Walshe and Steven Kazuo Takasugi. His versatile technique and virtuosity also brings fresh approaches to the standard and 20th-century repertoire.

Mark performs regularly throughout Europe, the United Kingdom and Australia and in New Zealand, South Korea, Mongolia, United States of America, Canada and at festivals including Transit (Leuven), Ultima (Oslo), Huddersfield, London Contemporary Music Festival, Borealis (Bergen), Spor (Århus), Athelas (Copenhagen), and MaerzMusik (Berlin).

He performs with various ensembles including Plus-Minus (London/Brussels) and Apartment House (London), and has conducted EXAUDI (London), Scenatet (Denmark), and London Sinfonietta. His recordings of music by John Cage, Richard Beaudoin, Karlheinz Stockhausen, Peter Ablinger, and David Lumsdaine have been critically acclaimed."

-Mark Knoop Website (http://www.markknoop.com/home)
11/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Philip Thomas (b.1972, North Devon) specialises in performing new and experimental music, including both notated and improvised music. He places much emphasis on each concert being a unique event, designing imaginative programmes that provoke and suggest connections.

He is particularly drawn to the experimental music of John Cage, Morton Feldman and Christian Wolff, and composers who broadly work within a post-Cageian aesthetic. In recent years he has been particularly associated with the music of Christian Wolff, giving the world premiere of his Sailing By in 2014 and Small Preludes in 2009, the UK premiere of Long Piano (Peace March 11), having co-edited and contributed to the first major study of Wolff's music, Changing the System: the Music of Christian Wolff, published by Ashgate Publications in 2010, and currently recording all of Wolff's solo piano music for sub rosa. He is an experienced performer of John Cage's music, having performed the Concert for piano and orchestra with both Apartment House and the Merce Cunningham Dance Company as well as most of the solo piano and prepared piano music, including a unique 12-hour performance of Electronic Music for piano

He has commissioned new works from a number of British composers whose ideas, language and aesthetic have been informed in some ways by the aforementioned American composers, such as Stephen Chase, Laurence Crane, Richard Emsley, Christopher Fox, Bryn Harrison, John Lely, Tim Parkinson, Michael Parsons, and James Saunders.

In recent years Philip has pursued a passion for freely improvised music, after significant encounters with the music of AMM and Sheffield-based musicians Martin Archer, Mick Beck and John Jasnoch. He has worked with improvisers in a variety of contexts and recently devised a programme of composed music by musicians more normally known as improvisers as well as others who have been influenced by improvisation in some form. This led to a CD release, Comprovisation, which featured newly commissioned works by Mick Beck, Chris Burn and Simon H Fell. Other CD releases include music by Martin Arnold, Laurence Crane, Christopher Fox, Jürg Frey, Bryn Harrison, Tim Parkinson, Michael Pisaro, James Saunders, Christian Wolff, as well as with improvisers Chris Burn and Simon H Fell.

Philip is a regular pianist with leading experimental music group Apartment House, with whom he has performed in festivals across the UK and Europe. He has also performed with the Quatuor Bozzini, and in duos with Mark Knoop, Ian Pace and John Tilbury (piano duet and two pianos) and James Saunders (electronics).

In 1998 Philip was awarded a PhD from Sheffield University in the performance practice of contemporary piano music. Between 2000 and 2005, he was Head of the Sheffield Music School whilst pursuing an active performing and teaching career. He joined the staff team at the University of Huddersfield in 2005, and became Professor of Performance in 2015. Philip is one of the Directors of CeReNeM, the University's Centre for Research in New Music. He continues to live in Sheffield, where he premieres the majority of his programmes, with his wife Tiffany and children Naomi and Jack."

-Philip Thomas Website (http://www.philip-thomas.co.uk/biog.html)
11/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"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)
11/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


CD1



1. Two2 1:06:05 CD2



1. Two2 1:01:50
sample the album:








descriptions, reviews, &c.

"Of Cage's so-called "Number Pieces", works composed late in his life, 'Two2' (1989) seems to be one of the least frequently recorded. It was written for the piano duo Double Edge (Edmund Niemann and Nurit Tilles) though it appears that the premiere was performed in May 1990 by Rob Haskins and Louis Goldstein; it's available to be heard on YouTube. That performance lasts just over an hour and twenty-five minutes and the two others I can locate, by Josef Christof/Stefan Schleiermacher (released on MDG in 2000, as part of the 'Complete Piano Music', volume 5) and a live video by Beata Pincetic and Christos Sakellaridis last just over 46 and 36 minutes respectively.

On the johncage.org website, the piece is described as follows:

This is one of Cage's few "number" pieces that does not utilize time-brackets. Being inspired by a remark of Sofia Gubaidulina, i.e. "There is an inner clock," Cage created a composition consisting of 36 lines of music, each containing 5 measures. Within each line, 31 events occur: 5+7+5+7+7, as in Japanese Renga poetry. The pianists play a measure in their own tempo, but the next measure may only be played when both have completed the previous.

Philip Thomas, in an interview published on the Another Timbre site and partially reproduced in the sleeve of this release, mentions having heard the piece both in live performance and on recording, remarking, "...it just didn't draw me in in the way that most of Cage's number pieces do. To my ears there were too many notes, too much material in the piece such that I quickly lost interest." But reading the score himself and calculating what he thought was an appropriate amount of time to spend on each measure, he arrived at a potential duration of around two and a half hours. The current recording clocks in at just short of two hours and eight minutes. Thomas remarks, "There are no instructions about duration, so any and all durations are possible and valid, but I think that taking it at the pace we do at least brings a different perspective to it, and reveals other things about the piece that I'd not heard before".

Having listened to the three other versions, online, I have to say that, as generally enjoyable as those are to my ears, Thomas' intuition is exactly correct. The sense of pace is almost viscous without any connotations of stickiness or anything syrupy. If you can imagine very slowly flowing water, that's close. Maybe cold lava. Notes suspend in the air for a few moments, then softly fall and disappear. My impression is that there's more in the mid- and mid-low range of the piano than elsewhere, a real roundness in the tonality, a thickness. The sequences have something of a darkly Romantic character, as though extracted from a larger work, slowed way down, carefully examined and considered. As in Feldman, there's somehow a sense of forward progression though never the slightest indication of a goal. For what it's worth, I never get the impression of two pianists, just one strong, coursing river of music. It's 108 minutes of pure, thought-compelling, perception-enhancing, down to earth bliss. Can't ask for more.

A major achievement."-Brian Olewnick, Just Outside


Get additional information at Brian Olewnick's Just Outside
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