John Cage

[pparadiso]

John Cage - Cage Edition, Vol. 6: Roaratorio
Avant-Garde | EAC (APE+CUE+LOG) | 640 MB | Cover + .txt file of details
Various musicians • Klaus Schöning • John Cage, speaker

“ "In his preface to A Finnegans Wake Gazetteer, Louis Mink says that the time for naïve enjoyment of Finnegans Wake is past. He says that now we are obliged to continue the scholarly unravelling of its mysteries. And an editorial in a magazine published at the Centre Pompidou says that the most urgent and important art work to be done now is to come to an analytical understanding of the art of the twentieth century. I don't agree. I think that we can still at unexpected moments be surprised by the beauty of the moon though now we can travel to it. And I think that the artists of the twentieth century who resist our understanding are the ones to whom we shall continue to be grateful. Besides Joyce there is Duchamp. And Satie whose work, though seemingly simple, is no less difficult to understand than that of Webern. Somewhere in the Wake Joyce says 'Confusium hold'em!' I hope that Roaratorio will act to introduce people to the pleasures of Finnegans Wake when it is still on the side of poetry and chaos rather than something analyzed and known to be safe and law-abiding."
- John Cage, album booklet
”
Disc 1

I. Roaratorio: An Irish Circus On Finnegans Wake (1979)
1) Part One (to Line 220) 26:46
2) Part Two (to Line 406) 16:14
3) Part Three (to Line 594) 14:17
4) Part Four (to End) 3:13

John Cage, voice
Jon Heaney, singer
Seamus Ennis, Uillean pipes
Paddy Glackin, fiddle
Matt Malloy, flute
Peadher Mercier & Mell Mercier, Bodhran

IIa. Laughtears: Conversation on Roaratorio (1979)
5) (beginning) 16:13

John Cage and Klaus Schöning, speakers

Disc 2

IIb. Laughtears: Conversation on Roaratorio (1979)
1) (conclusion) 14:50

John Cage and Klaus Schöning, speakers

III. Writing for the Second Time Through Finnegans Wake (1976-79)
2) Part One (to Line 220) 27:18
3) Part Two (to Line 406) 16:12
4) Part Three (to Line 594) 13:13
5) Part Four (to End) 2:56

John Cage, speaker

Served through RS via TinyURL

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http://rapidshare.com/files/93052493/cage_roaratorio.part1.rar
http://rapidshare.com/files/93056576/cage_roaratorio.part2.rar
http://rapidshare.com/files/93060328/cage_roaratorio.part3.rar
http://rapidshare.com/files/93063136/cage_roaratorio.part4.rar
http://rapidshare.com/files/93065785/cage_roaratorio.part5.rar
http://rapidshare.com/files/93068834/cage_roaratorio.part6.rar
http://rapidshare.com/files/93070067/cage_roaratorio.part7.rar

mode 28/9

[pparadiso]

John Cage: Works for Percussion (WER 62032)
Classical | APE & CUE | 3 parts / 207 MB


John Cage: Works for Percussion (Quatuor Hêlios)

Tracks:
Second construction [1940] (7:29)
Imaginary landscape no. 2 [1942] (5:22)
Amores [1943] (9:43)
Double music [1941] (4:39)
Third construction [1941] (10:06)
She is asleep [1943] (11:40)
First construction (in metal) [1939] (10:03)

Recorded "live in studio" at CCAM, Vandoeuvre-Lès-Nancy, France in July 1989
Cover photo: Marcel Duchamp's A bruit secret, 1916
___________________________

The French percussion ensemble Quatuor Hêlios has, since their inception in 1986, been dedicated to performing the early compositions of American avant-garde composer John Cage. Their 1991 release, John Cage: Works for Percussion, is a compilation of seven of compositions written by the groundbreaking composer between 1939 and 1943. Quatuor Hêlios, which takes its name from the mythical Greek sun god, performs Cage's challenging compositions presented on this CD solidly. Played by members Isabelle Berteletti, Jean-Christophe Feldhandler, Florent Haladjian, and Lê Quan Ninh, the compositions on this release reflect Cage's interest and dedication to the promotion of an often-overlooked component in traditional Western art music: rhythm. It was in 1933, after witnessing Varése's percussion composition "Ionization" (1931) being performed at the Hollywood Bowl under the direction of conductor Nicolas Slonimsky, that the 21-year-old Cage decided to dedicate himself to writing percussive compositions for such instruments as coffee cans, snare drums, lion roars, prepared pianos, and conch shells.

While living in Seattle during 1938 and 1939, Cage collaborated with the experimental dancer and choreographer Merce Cunningham, organized a percussion ensemble, and began to work as a musical accompanist for dancers at Cornish College. Since stage space was limited at the tiny Cornish, Cage came up with the idea of mimicking the timbres and sounds of his percussion ensemble by preparing a standard piano's strings with forks, springs, and other sundry miscellany. The John Cage: Works for Percussion CD contains a number of work's that utilize prepared piano: "First Construction (In Metal)," "Second Construction," "Amores," and "She Is Asleep." In 1939, Cage composed "Imaginary Landscape No. 1." This work, which is not presented by the quartet on this CD, was written for two variable-speed turntables, frequency recordings, cymbal, and piano. During the same year, the prodigious 27-year-old composer wrote "First Construction in Metal." This ten-minute work, which is the concluding cut on this CD, ebbs and flows with amazing dynamics as it makes use of a large palette of metallic objects. By 1940, Cage had moved to San Francisco where he wrote this CD's first track, "Second Construction.." This work moves in and out of changing time signatures, prepared piano ostinatos, tom-tom melodies, and brake drum bells lines. The composition "Double Music," which is the fourth of Cage's works presented on this CD, is actually a collaboration with another American composer, Lou Harrison. Harrison's fondness for the gamelan music of Bali and Java comes through in the complex interlocking rhythms and cyclical presentation of the various gongs on this cut.

As a member of the avant-garde, Cage is remembered alongside of such visionaries as Boulez, Berio, Stockhausen, Kagel, Cowell, as well as Harrison, to name but a few. His contribution to the world of music is immeasurable as he helped to open the minds and ears of Western audiences to the limitless possibilities inherent in percussive compositions.

―John Vallier, All Music Guide

Kod: Označi sve

http://www.ftp2share.com/file/13883/EAC.part1.exe.html
http://www.ftp2share.com/file/13907/EAC.part2.rar.html
http://www.ftp2share.com/file/13914/EAC.part3.rar.html

[pparadiso]

John Cage - A Cage of Saxophones, Vols. 1 & 2 (2002/2006)
Vol. 1 - Avant-Garde | EAC (APE+CUE) | 279 MB | Cover
Vol. 2 - Avant-Garde | EAC (APE+CUE) | 198 MB | Cover
Ulrich Krieger • Various performers

Ulrich Krieger spearheads the "A Cage of Saxophones" series for Mode, including works that Cage wrote specifically for the saxophone and also works of unspecified instrumentation that are suitable for it. Vol. 1 focuses mainly around late Cage, while Vol. 2 is mainly early Cage.

“ Even though most of these works were composed for open instrumentation, saxophones suit Cage's music especially well, not only because of their clean tone quality, wide dynamic range, and exceptional variety of timbres, but also because of their interesting associations with jazz and modernism.
- Blair Sanderson, AMG
”


Vol. 1

I. Five (1988) 5:07
version for 2 saxophones, accordion & 2 pianos

II. Ryoanji (1984) 21:26
for saxophone, 3 prerecorded saxophones & percussion

III. Four^5 (1991) 12:02
for saxophone quartet

IV. Five^4 (1991) 5:01
for 2 saxophones & 3 percussions

V. Hymnkus (1986) 30:04
for 2 saxophones, accordion, 2 pianos & 2 percussions

“ In many works, Cage sets sustained notes against very brief notes. Ryoanji, Hymnkus, Five^4, Two, and earlier works such as Atlas Eclipticalis should be mentioned in this context. One can speak of a reduction of rhythm to its basic values of short-long. In some later works, these brief tones represent merely one of several interpretative possibilities, which however do not have to be used (Four^5, for instance), or are no longer explicitly mentioned (Five). I believe that in these number pieces, Cage is interested mainly in static sounds and their immanent, sonic events, which become audible and perceivable only if the pitch durations are long enough. The silence is in the sound . . . In my instrumentation of Five and Four^5, the resulting new blended sound is especially notable, for it is often not clear which instruments are playing which note or producing which song . . . The resulting microtonality produces beating and combination tones, creating an iridescent static sound, which to some degree can already be heard in the tempered Five. All the works on this CD clear show one of John Cage's major concerns: a music which does not have an extra-musical, gestural, semantic (and therefore emotional) communicative expression - but instead, freed of this burden, can address the listener solely and directly through sound. ”

Served through RS via TinyURL

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http://rapidshare.com/files/110832834/cage_sax_vol.1.part1.rar
http://rapidshare.com/files/110831688/cage_sax_vol.1.part2.rar
http://rapidshare.com/files/110831087/cage_sax_vol.1.part3.rar

mode 104

Vol. 2

I. Sonata for Two Voices (1933)
for soprano & tenor saxophones


* I. Sonata (Allegro) 1:16
* II. Fugato (Lento) 2:18
* III. Rondo (Tempo Primo) 1:09


II. Atlas Eclipticalis (1961) 24:15
(From the pages 193-204 of the orchestral parts of 'Atlas Eclipticalis')
for 3 soprano saxophones & electronics

III. Composition for Three Voices (1934) 5:02
for soprano saxophone, accordion & cello

IV. Solo for Baritone Saxophone (1957-58) 12:08
(from the pages 145-156 of the orchestral parts of 'Concert for Piano and Orchestra')
for baritone saxophone

V. Solo with obbligato accompaniment of two voices in canon, and six short inventions on the subjects of the solo (1933)
for alto saxophone, Bb clarinet & english horn


* Solo with obbligato accompaniment of two voices in canon (9:04)
* Invention 1 (0:53)
* Invention 2 (0:24)
* Invention 3 (1:45)
* Invention 4 (0:41)
* Invention 5 (1:28)
* Invention 6 (1:24)


VI. Two (1987) 10:05
for soprano saxophone & piano

“ In Cage's work, constant through all creative periods, one can again and again observe in different ways a reduction to the simplest basic elements (short-long, dissonant-consonant, etc.). From this reduction he allows the development of the greatest possible complexity. It is about a multitude of sounds, a variety in the sounds and a variety of interactions between the sounds, which would be limited and minimized through too much structure and planning - his realization of a utopian-anarchic society. He draws on unlimited resources and wants to be surprised by his music time and again and to experience a new "coming into being" of the pieces in every performance, instead of a mere reproduction. His structures serve the free the sounds, and to create for them an individual space, in which they can exist and unfold. The listener immerses himself in the sound adventure, instead of being guided by a finished linear "narrative." All of this can already be seen in his early works on this CD, but it becomes clear why he very soon moved away from fixed, traditional structures. He always searched for the utopia of a free, self-reflective music for a free self-structuring, anarchic society. ”

Served through RS via TinyURL

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http://rapidshare.com/files/110833190/cage_sax_vol.2.part1.rar
http://rapidshare.com/files/110832836/cage_sax_vol.2.part2.rar

mode 160

[pparadiso]

John Cage - Cage Edition, Vol. 18: The Choral Works I (1998)
Avant-Garde | EAC (APE+CUE+LOG) | 180 MB | No cover, sorry
Ars Nova • Tamás Vetö, conductor • Gert Sorensen, percussion

“ This upload is the third release from Mode's Cage series that I've posted (the other two being 'Orchestral Works 2' and 'Roaratorio') and for my next several uploads, the Cage series is what I'll be focusing on. Starting with this release: a collection of Cage's choral works! For some reason or another, this disc is apparently hard to come by nowadays. For shame, too, because the music is beautiful. The first track, Four², is a personal favorite of mine; this is Cage at his most droningly meditative! 'ear for EAR (Antiphonies)' and 'Five' follow along this vein, as well. 'Four Solos', another standout, descends into downright eeriness at times, while 'Living Room Music' is quite catchy with its layers of repetitive speech over simplistic percussion. All I can say is that hopefully Mode will release a Choral Works II in the future! ”


I. Four² (1990) for mixed chorus
Version 1 (6:50)

II. Living Room Music (1940) for percussion and speech quartet


* I. To Begin (1:17)
* II. Story (2:33)
* III. Melody (2:26)
* IV. End (1:46)



III. ear for EAR (Antiphonies) (1983) for widely separated single voices
Version 1 (3:57)

IV. Four² (1990) for mixed chorus
Version 2 (6:56)

V. Four Solos (1988) for solo quartet
Version 2 (15:03)

VI. Five (1988) for 5 voices or instruments
Version 2 (5:01)

VI. Hymns and Variations (1979) for 12 amplified voices


* Hymn 1
* Hymn 2
* Variations I-X


(28:35)

Served through RS via TinyURL

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http://rapidshare.com/files/100545240/cage_choral_works.7z.001
http://rapidshare.com/files/100549537/cage_choral_works.7z.002

Next up will be more 'Works for Violin' volumes!

mode 71

[pparadiso]

John Cage - Cage Edition, Vol. 21: The Orchestral Works 2
Avant-Garde | EAC (APE+CUE+LOG) | 172 MB | Cover + .txt file of performers
New England Conservatory Symphony Orchestra & Callithumpian Consort • Stephen Drury, director


“ "Duality, contradiction, choice, freedom, anarchy - these are the themes animating John Cage's two Etcetera works. Multiplicity and mirrors are everywhere - multiplicity of performing options, multiplicity of ensembles, multiplicity of conductors. Tape music and live music; standard and unconventional notation; repetition and non-repetition. Each piece contains contradictory elements and the elements of each piece find their reflections in the other - sometimes corresponding, sometimes changing into their opposite. There is constant foot traffic on stage; the several conducted groups and soloists play simultaneously against each other. The sounds on the pre-recorded tapes which play throughout both compositions - made in the environment in which the pieces were written - become the sonic environments in which the live music is played."
- Stephen Drury, album booklet
”


I. Etcetera (1973) 20:44
Callithumpian Consort of New England Conservatory
Tamara Brooks, Stephen Drury, Charles Peltz, conductors

II. Etcetera 2/4 Orchestra (1986) 30:08
New England Conservatory Symphony Orchestra
Tamara Brooks, Marsha Hassett, Charles Peltz, Laurie K. Redmer, conductors

Served through RS via TinyURL

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http://rapidshare.com/files/91976685/cage_orchestral_works_2.part1.rar
http://rapidshare.com/files/91979194/cage_orchestral_works_2.part2.rar

Now in RAR format with edited LOG for my own privacy!

[pparadiso]

John Cage - Empty Words (Parte III)
MP3 160kbps | 74:41 | 94Mb

In some ways, this recording of John Cage's Empty Words (Parte III) is more a fascinating you-are-there curio than something one would listen to for pleasure, but in a larger sense, it's merely the basic concept of Cage's 4' 33'' (in which the audience reaction is an inextricable part of the piece) taken to a logical conclusion. Cage's part of the performance (which lasted nearly three hours) consisted of the composer sitting at a lectern reading a brief passage from the journals of Henry David Thoreau; in keeping with the piece's title, Cage draws out every syllable, silence, and vocal inflection, to the point that the words are utterly meaningless and become pure vocal sound.

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http://www.ftp2share.com/file/28365/Cage_EmptyWords.rar

[pparadiso]

John Cage: Works for Piano, Toy Piano & Prepared Piano, Vol. III
Classical | EAC (FLAC, CUE, LOG) | Complete Scans | 310 MB | RS
Joshua Pierce (piano, toy piano) / Maro Ajemian (piano) / Marilyn Crispell & Joe Kubera (toy pianos)

Contents

Suite for Toy Piano (1948)
The Seasons/Ballet in One Act (1947)
Music For Amplified Toy Pianos
A Book Of Music (1944)
Suite For Toy Piano (version for piano)

Wergo WER6158-2
Recording: 1976 - 1989
ADD / 71:26

My rip from an original cd.

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http://rapidshare.com/files/149213577/Cage.WfPTPaPP.3.part1.rar
http://rapidshare.com/files/149225923/Cage.WfPTPaPP.3.part2.rar
http://rapidshare.com/files/149237336/Cage.WfPTPaPP.3.part3.rar
http://rapidshare.com/files/149198773/Cage.WfPTPaPP.3.part4.rar

[pparadiso]

John Cage: Works for Piano & Prepared Piano, Vol. II
Classical | EAC (FLAC, CUE, LOG) | Complete Scans | 277 MB | RS
Joshua Pierce (piano) / Dorothy Jonas (piano) / Frank Almond (violin)

Contents

Mysterious Adventure (1945)
TV Koeln (1958)
Daughters Of The Lonesome Isle (1945)
Dream (1958)
The Perilous Night (1944)
Nocturne (1947)
Three Dances (1944-45)


Wergo WER60157-50
Recording: 1983 - 1987
ADD / 60:28

My rip from an original cd.

Kod: Označi sve

http://rapidshare.com/files/143708695/Cage.WfPaPP.2.part1.rar
http://rapidshare.com/files/143724136/Cage.WfPaPP.2.part2.rar
http://rapidshare.com/files/143737552/Cage.WfPaPP.2.part3.rar

[pparadiso]

John Cage: Works for Piano & Prepared Piano, Vol. IV
Classical | EAC (FLAC, CUE, LOG) | Complete Scans | 272 MB | RS
Joshua Pierce (piano) / Adria Firestone (voice) / Borah Bergman (piano)
Joseph Kubera (piano) / Dorothy Jonas (piano) / Myra Melford (piano) / Fumiko Miyanoo (piano)


Contents

Five Songs for Contralto (1938)
Metamorphosis (1938)
Bacchanale (1938)
A Valentine out of Season (1944)
Tossed as it is Untroubled (1943)
Root of an Unfocus (1944)
Music Walk, version for three pianists (1958)
Jazz Study (ca.1942)
Music Walk, version for five pianists (1958)
Experiences (1945-1948)

Wergo WER6159-2
Recording: 1986 - 1994
ADD / 71:34

My rip from an original cd.

Kod: Označi sve

http://rapidshare.com/files/149492819/Cage.WfPaPP.4.part1.rar
http://rapidshare.com/files/149507598/Cage.WfPaPP.4.part2.rar
http://rapidshare.com/files/149518780/Cage.WfPaPP.4.part3.rar

[pparadiso]

John Cage - Ryoanji [1983/85] (1996)
Avantgarde | FLAC >>> EAC (APE + CUE) | covers | 188 MB
Performed by Robert Black (contrabass), Eberhard Blum (flute), Iven Hausmann (trombone), Gudrun Reschke (oboe), John Patrick Thomas (voice) & Jan Williams (percussion).

"The Japanese garden is a lesson in asymmetry. When several trees or smaller plants are planted they are generally grouped in odd-number combinations. For example, a planting of nine (rather than eight or ten) azaleas are better arranged in three groups containing one, three and five plants instead of in precise, regular groups. Avoiding forcing a plant to grow in a situation that does not agree with its regular environment."

In Ryoanji, Cage attempts to express the essence of this rock garden - not programmatically, but symbolically. The percussion, for example, dispatches Time in uneven increments, not to enforce a measure of inevitability, but to evoke a pure yet unpredictable space in which other, non-synchronized, events may occur. (Subtle changes in dynamics symbolizing the changing light over passing time.) Each individual instrument defines its own shape, and in those places where they overlap with another instrument the effect is not of a blending together in ensemble fashion; rather they impose themselves upon each other but must coexist harmoniously. The position of the sounds may change with each performance (the placement of the rocks may differ yet the effect remain the same) though the place - the idea, the experience - is intact.

Ryoanji (1983/85)
1. Ryoanji. (60:31)
Performed by Robert Black (contrabass), Eberhard Blum (flute), Iven Hausmann (trombone), Gudrun Reschke (oboe), John Patrick Thomas (voice) & Jan Williams (percussion).

Total time: 60:31

Recorded in June 1995 in Berlin, Germany.
Released by HatArt in 1996.

Packed as a contiguous zip inside a multi-part 7z, limited at 99M.

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http://rapidshare.com/files/60405594/JCR.7z.001
http://rapidshare.com/files/60408578/JCR.7z.002

[pparadiso]

John Cage - Three Constructions
Donald Knaack Percussion Ensemble, Jay Clayton voice | FLAC | 174MB | Avant-Garde

Cage's exploration of percussion timbre is mapped through these three constructions from 1939 to 1941, moving from a clustered, brooding early work, to slithering near-jazz, and finally onto a furious burst of precise, mostly atonal rhythmic elements. The Zen-like calm of "A Flower," dance music for voice and drum, breaks up the percussion with otherworldly vocal trills.

1. First Construction [In Metal]
2. Flower
3. Second Construction
4. Forever and Sunsmell
5. Third Construction

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http://rapidshare.com/files/45927617/ca3.part1.rar
http://rapidshare.com/files/45928446/ca3.part2.rar

[pparadiso]

John Cage - The Number Pieces 5: Two² (2008)
Avant-Garde | EAC (APE+CUE+LOG) | 239 MB | Cover
Rob Haskins • Laurel Karlik Sheehan

“ "Two² stands apart in the sequence of Number Pieces because it has no time brackets; the two pianists are directed simply to play the music in their respective measures at their own speed, taking care not to continue to the next measure until both have finished playing the music for that particular measure. As Cage explained in his performance notes for the work, his decision not to incorporate time brackets owed itself to a remark made by the Soviet composer Sofia Gubaidulina, whom he had met in 1988 at the Third International Festival of Contemporary Music in Leningrad: 'There is an inner clock.' This gives the pianists the luxury of playing the piece at the speed that suits them best; in the finest performances, the freedom also allows them to discover surprising new relationships between the sounds - relationships unexpected even to them, no matter how much rehearsal time they spend preparing."
Rob Haskins, album booklet


Two² (1989) 74:22
Rob Haskins, piano I
Laurel Karlik Sheehan, piano II

Kod: Označi sve

http://rapidshare.com/files/144542409/cage_np5.part1.rar
http://rapidshare.com/files/144583540/cage_np5.part2.rar
http://rapidshare.com/files/144665913/cage_np5.part3.rar

[pparadiso]

John Cage: Works for Piano & Prepared Piano, Vol. I
Classical | EAC (FLAC, CUE, LOG) | Complete Scans | 131 MB | RS
Joshua Pierce (piano) / Jay Clayton (voice) / The Paul Price Percussion Ensemble


Contents

A Room (1943) for piano
She Is Asleep (1943)
A Room (1943) for prepared piano
In A Landscape (1948)
Seven Haiku (1952)
Totem Ancestor (1943)
Two Pastorales (1951)
And the Earth Shall Bear Again (1942)
Waiting (1952)
For M.C. And D.T. (1952)


Wergo WER60151-50
Recording 1977 & 1982
ADD / 49:06

My rip from an original cd.

Kod: Označi sve

http://rapidshare.com/files/141537119/Cage.WfPaPP.1.part1.rar
http://rapidshare.com/files/141542022/Cage.WfPaPP.1.part2.rar