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Cage, John / Apartment House: Hymnkus /  Thoreau Drawings / Two (Another Timbre)

The UK avant ensemble Apartment House performs three of John Cage's later works: Two (1987), a number piece using randomly-determined time brackets specifying pitch & dynamic; Hymnkus for up to 14 instrumental parts each of 17 elements blending the concepts of a hymn and a haiku; and Thoreau Drawings, the score twenty unnumbered pages on which Cage drew shapes onto a grid of six systems, each divided into 5+7+5 parts, following the form of a haiku.
 

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Label: Another Timbre
Catalog ID: at198
Squidco Product Code: 32225

Format: CD
Condition: New
Released: 2022
Country: UK
Packaging: Cardboard Gatefold
Recorded at Goldsmiths Music Studio, in January, 2022, and at Mark Knoop's home studio in South London in April, 2022, by Simon Reynell.


Personnel:

John Cage-composer

Anton Lukoszevieze-cello

Mira Benjamin-violin

Gordon MacKay-violin

Kerry Yong-piano, keyboard

Gavin Morrison-alto flute

Heather Roche-clarinet

Raymond Brien-bass clarinet

Mark Knoop-piano

Kathryn Williams-flute

David Behrman-field recording

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Artist Biographies:

"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)
9/26/2022

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"Cellist Anton Lukoszevieze (born 1965 in the UK) is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton has given many performances at numerous international festivals throughout Europe and the USA (Maerzmusik, Donaueschingen, Wien Modern, GAS, Transart, Ultima, etc.etc.). He has also made frequent programmes and broadcasts for BBC Radio 3, Danish Radio, SR2, Sweden, Deutschland Rundfunk, WDR, Germany and ORT, Austria. Deutschlandfunk, Berlin produced a radio portrait of him in September, 2003. Anton has also performed concerti with the City of Birmingham Symphony Orchestra at the 2001 Aldeburgh festival and the Netherlands Radio Symphony Orchestra. He has collaborated with many composers and performers including David Behrman, Alvin Lucier, Amnon Wolman, Pierre Strauch, Rytis Mazulis, Karlheinz Essl, Helmut Oehring, Christopher Fox, Philip Corner, Alvin Curran, Phill Niblock and Laurence Crane, He is unique in the UK through his use of the curved bow (BACH-Bogen), which he is using to develop new repertoire for the cello. From 2005-7 he was New Music Fellow at Kings College, Cambridge and Kettles Yard Gallery. Anton is the subject of four films (FoxFire Eins) by the renowned artist-filmmaker Jayne Parker. A new film Trilogy with compositions by Sylvano Bussotti, George Aperghis and Laurence Crane premieres at The London Film Festival, October 2008. In November will premiere a new hour long work by Christopher Fox for cello and the vocal ensemble Exaudi commissioned by the Huddersfield Contemporary Music Festival and will also present new solo works for cello and live electronics. Anton is also active as an artist, his work has been shown in Holland (Lux Nijmegen), CAC, Vilnius, Duisburg (EarPort), Austria, (Sammlung Essl), Wien Modern, The Slade School of Art, Kettles Yard Gallery, Cambridge Film Festival and Rational Rec. London. His work has been published in Musiktexte, Cologne, design Magazine and the book SoundVisions (Pfau-Verlag, Saarbrucken, 2005). Anton Lukoszevieze is founder and director of the ensemble Apartment House, a member of the radical noise group Zeitkratzer and recently made his contemporary dance debut with the Vincent Dance Company in Broken Chords, Dusseldorf."

-Kalvos Damian (http://www.kalvos.org/lukosze.html)
9/26/2022

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"Mira Benjamin is a Canadian violinist, researcher and new-music instigator.

She performs new and experimental music, with a special interest in microtonality & tuning practice. She actively commissions music from composers at all stages of their careers, and develops each new work through multiple performances. Current collaborations include new works by Anna Höstman, Scott McLaughlin, Amber Priestley, Taylor Brook and James Weeks.

Since 2011, Mira has co-directed NU:NORD - a project-based music and performance network which instigates artistic exchanges and encourages community building between music creators from Canada, Norway & the UK. To date NU:NORD has engaged 79 artists and commissioned 62 new works. Through this initiative, Mira hopes to offer a foundation from which Canadian artists can reach out to artistic communities overseas, and provide a conduit through which UK & Norwegian artists can access Canada's rich art culture.

Originally from Vancouver, British Columbia, Mira lived for ten years in Montréal, where she was a member of Quatuor Bozzini. Since 2014 she has resided in London (UK), where she regularly performs with ensembles such as Apartment House, Decibel, and the London Contemporary Orchestra Soloists, and is currently the Duncan Druce Scholar in Music Performance at the University of Huddersfield.

Mira is the recipient of the 2016 Virginia Parker Prize from the Canada Council for the Arts. The prize is awarded annually to a Canadian musician in recognition of their contribution to the artistic life in Canada and internationally."

-St. Martin in the Field Website (http://mirabenjamin.com/about/)
9/26/2022

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"Violinist Gordon MacKay was a member of the National Youth Orchestra of Scotland before gaining a music degree at the University of London. He is currently a member of contemporary group Apartment House, and has also performed with the Kreutzer Quartet, as well as featuring as a guest player with Lontano and the London Symphony Orchestra.

He has recorded a solo violin work by Sylvano Bussotti for BBC Radio 3, and performed a violin duo by Effy Efthymiou with Madeleine Mitchell, which was shortlisted for the Ivan Juritz Prize in 2018."

-Naxos (https://www.naxos.com/person/Gordon_MacKay/107234.htm)
9/26/2022

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"Kerry is a musician who lives in east London. He trained as a pianist and now also performs on keyboards and live electronics.

Kerry has performed at Audiograft, Chisenhale Arts Club, Kämmer Klang, Rational Rec, Borealis Festival, Huddersfield Contemporary Music Festival, ISCM World Music Days, Kings Place, City of London Festival, Music We'd Like To Hear, Nonclassical and in groups Apartment House, ELISION, Plus-Minus Ensemble and Ensemble Offspring.

Kerry studied piano with Stephanie McCallum at the University of Sydney (where he also studied composition) and at the Sydney Conservatorium of Music. He completed a doctorate at the Royal College of Music where he studied piano with Andrew Ball and researched Performance practices of music for piano with electroacoustics. He has also dabbled with the other side, playing with bands Apopalyptics, Casiokids and Half-handed Cloud and the Welcome Wagon.

Kerry also directs music at Grace Church Hackney (which meets in Hoxton), where they are happy to use ancient chants, traditional hymns and new works with choirs, bands, electronics, objects and the like."

-Kerry Yong Website (http://kerry-yong.blogspot.com/p/about-me.html)
9/26/2022

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Gavin Morrison: "Flautist, West Ham fan, terrible golfer, lover of single malt and real ale."

-Gavin Morrison Twitter Account (https://twitter.com/gavtheflute)
9/26/2022

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"Born in Canada, clarinetist Heather Roche trained in England, lived in Germany for 7 years and now lives in London.

She has performed at some of the major European festivals, including musikFest (Berlin), BachFest (Leipzig), Musica Nova (Helsinki), Acht Brücken (Cologne), the International Computer Music Conference (Huddersfield, Ljubljana), the Dias de Música Electroacústica (Seia, Portugal) and the Agora Festival (Ircam, Paris). She has also performed solo programmes at the Zagreb Music Biennale, the Huddersfield Contemporary Music Festival, the New York Electroacoustic Symposium, at CIRMMT (Montreal), Unerhörte Musik (Berlin), Eavesdropping (London), and with the Birmingham Electroacoustic Sound Theatre (BEAST).

She has performed with ensembles and orchestras including Musik Fabrik (Cologne), the WDR Orchestra (Cologne), mimitabu (Gothenburg), the London Symphony Orchestra (London), ensemble Garage (Cologne), ensemble interface (Berlin), the Riot Ensemble (London), the Alisios Camerata (Zagreb), and ensemble proton (Bern). She also plays across the UK in a trio with Carla Rees (flutes) and Xenia Pestova (piano) and in 2015 formed an duo with the accordionist Eva Zöllner, with whom she has played across Germany, the UK and in Portugal. She is a founding member of hand werk, a 6-person chamber music ensemble based in Cologne, and worked with the group from 2010-2017.

She has solo CDs out on the HCR/NMC and Métier labels. Please see the Discography for further details.

In 2014 she was awarded a DIVA (Danish International Visiting Artists Fellowship), and lived in Copenhagen for two months.

Since 2016 she has acted as the Reviews Editor for TEMPO, a quarterly journal for contemporary music published by Cambridge University Press.

Her website is host to one of the most widely read new music blogs on the Internet. In 2017 it had 75,000 hits from around the world. She successfully crowdfunded in 2014 in order to host her first composition competition. Six young composers were chosen out of 270 applicants to write new pieces, which were premiered in 2016.

She is a fervent advocate of collaboration, and her PhD research at the University of Huddersfield (under the supervision of Dr. Philip Thomas) explored the nature of dialogue within performer-composer relationships. She has given workshops in instrumental technique and/or iPad use in performance all over Europe, for example in London, Munich and Copenhagen.

Heather completed her Masters of Music (Orchestral Training) in 2006 at the Guildhall School of Music and Drama in London, studying under Joy Farrall and Laurent Ben Slimane, in addition to conducting with Sian Edwards. Following her degree she completed residencies with the International Ensemble Modern Academy, at IMPULS in Graz and with ensemble recherche in Freiburg, the Darmstadt Summer Courses 2008 and 2010 and the International Ensemble Modern Academy in Innsbruck, Austria. She has performed in masterclasses with Michael Collins, Ernesto Molinari and Shizuyo Oka, to name a few. She completed her BMus in 2005 at the University of Victoria, Canada, studying under Patricia Kostek."

-Heather Roche Website (https://heatherroche.net/about/)
9/26/2022

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

Raymond Brien is a clarinetist, Composer and Artistic Director of the Thinking Minds Project.

-Facebook (https://www.facebook.com/RaymondBrienClarinet/about/?ref=page_internal)
9/26/2022

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"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)
9/26/2022

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

"Kathryn Williams is a flautist who performs solo recitals, chamber music, and with orchestras with a particular interest in new and experimental music. Recent performances include a Stockhausen masterclass with Kathinka Pasveer at Theater Basel, solo and chamber music performances with Ensemble Linea Academy at Cité de la musique et la danse Strasbourg, and a concerto with Manchester Camerata. She has performed with various orchestras including the BBC Philharmonic, The Hallé, Royal Liverpool Philharmonic, and Sinfonia Cymru and plays regularly with new music group The House of Bedlam. Kathryn's current project, Coming Up for Air, has been selected for YCAT's Sounding Board: Project Mentoring.

As a music educator Kathryn specialises in experimental performance practice and early-years education. Recently this has included guest lecturing at the Royal Northern College of Music, contributing to courses with Aldeburgh Young Musicians, delivering performances and workshops for Live Music Now, and long-term residencies at Alder Hey Children's Hospital, Manchester Museum and in a central Manchester nursery school.

Kathryn earned a BMus, MMus, and International Artist Diploma from the Royal Northern College of Music with teachers Peter Lloyd, Richard Davis, Katherine Baker, Stephen Preston, Karin de Fleyt and others. Prizes include RNCM Bach Prize, RNCM Concerto Competition (on two occasions), British Flute Society Young Artist Competition, and National Foundation for Arts Award (USA)."

-Kathryn Williams Website (http://www.kathryngwilliams.com/biography.html)
9/26/2022

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

"David Behrman has been active as a composer and artist since the 1960s - making sound and multimedia installations for gallery spaces as well as compositions for performance in concerts. My Dear Siegfried, Leapday Night, On the Other Ocean, Unforeseen Events, lnterspecies Smalltalk, Long Throw and Open Space with Brass are among Behrman's works for soloists and small ensembles. In the 1970s, he collaborated with Robert Watts and Bob Diamond on the video and sound installation Cloud Music; in the 1980s, with George Lewis and Paul DeMarinis, he made installations for the DeCordova, Hudson River and La Villette museums. His most recent installations were Pen Light (2002) and View Finder (2006).

Together with Robert Ashley, Alvin Lucier and Gordon Mumma, Behrman founded the Sonic Arts Union in 1966. Sonic Arts performed extensively in North America and Europe from 1966- 76. It presented programs again recently at the MaerzMusik Festival in Berlin and The New School, New York.

Working at Columbia Records in the late 1960s, Behrman produced many of the "Music of Our Time" series of new music recordings for Masterworks and Odyssey. Among them were the first recording of Terry Riley's In C as well as his Rainbow in Curved Air, and works by Robert Ashley, John Cage, Mauricio Kagel, Alvin Lucier, Richard Maxfield, Gordon Mumma, Pauline Oliveros, Henri Pousseur, Steve Reich, David Tudor, Christian Wolff and other influential composers.

Behrman worked extensively with the Merce Cunningham Dance Company, creating music for several repertory dances, from Walkaround Time (1968) to EyeSpace (2007). In 2004, he became a member, with Christian Wolff, Takehisa Kosugi and John King, of the company's music committee, which oversaw music issues during the last seven years of MCDC's existence. During the 1960s and 1970s, he assisted John Cage and David Tudor with several projects, like 9 Evenings: Theatre and Engineering (EATJ in 1966.

Behrman was co-director of the Center for Contemporary Music at Mills College from 1975-1980 and has returned to Mills as visiting artist/professor several times since then, most recently in February 2013. He has taught also at Cal Arts, Rutgers, Ohio State and the Technical University in Berlin and has been a member of the Milton Avery Graduate Arts Program faculty at Bard College since 1998. Currently, Behrman is working on an orchestra commission for the BBC Scottish Symphony."

-Lovely Music (http://www.lovely.com/bios/behrman.html)
9/26/2022

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track listing:


1. Two 10:23

2. Thoreau Drawings 27:30

3. Hymnkus 30:09
sample the album:








descriptions, reviews, &c.

"Three pieces from relatively late in Cage's output.

Two (1987) was the first of the 'number pieces' that Cage composed in the final years of his life, using randomly-determined time brackets which specify pitches, and in this case dynamics, but leave the exact duration and timing of the sounds to the performer's discretion.

Hymnkus, composed just one year earlier in 1986, contains 14 instrumental parts, any number of which may be used in performance. There is no overall score. For this realisation seven of the parts were used. The title combines the words 'hymn' and 'haiku': hymn because the piece contains repeated parts, like verses in a hymn, haiku because each of the 'verses' contains 17 elements, which are repeated 4, 5 or 6 times at different tempi, giving the music a staggered, chaotic feel, circling round rather than progressing from A to B. The repetitions have been interpreted as a nod towards the minimalism of Riley, Reich etc, but the feel of the music is much more anarchic, with the musicians operating independently rather than as part of an unfolding overall pattern.

The full title of the Thoreau Drawings piece is: Score (40 Drawings by Thoreau) and 23 Parts (for any Instruments and/or Voices): Twelve Haiku followed by a Recording of the Dawn at Stony Point, New York, August 6, 1974'

The piece, which has been very rarely performed, consists of twenty unnumbered pages on which Cage drew shapes onto a grid of six systems, each divided into 5+7+5 parts, following the form of a haiku."-Another Timbre



Anton Lukoszevieze writes:

"Some years ago we performed the Cage Thoreau Drawings work at dawn break in the Yorkshire Sculpture Park on a rather chilly November morning. As a visual artist I have always delighted in Cage's own visual art and its connections to nature and Henry David Thoreau. The graphical notational elements used in Cage's score are not, however, his own, but derived from the many small sketches of plants and other natural ephemera found in Thoreau's Journal, (which I highly recommend also as a portal into understanding much of Cage's work of the 1970's and 80's.)

Since that dawn performance I have long wished to make a recording of the work. In our version (different numbers of parts and durations can be decided on in advance), I wanted there to be quite a number of instruments. The work was originally composed for a chamber orchestra and we decided to record one layer of the 7 instruments at our disposal and then add two others on top, mixed together. Each version adhered to the same timeline, thus we had a fuller sounding texture containing 21 musicians.

The resultant sound is a curious yet striking one, and each utterance of a line of notation is bookended with an equivalent duration of silence, as indicated in Cage's instructions. The music is like a meta-forest of animal sounds, perhaps sounding not just 'like' nature, but more 'of' nature. When the music ends, and we are presented with the field recording made at Stony Point, NY, (where Cage lived at the time), by David Behrman in the early 1970's, one is almost shocked by reality, and the artifice of Cage's music is almost surreal in the memory."

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