catalogues de compositeurs

john cage

actualisation : 2009.05.15

● [Mot(s)^[^lien^] muni(s) de cet exposant = futur(s) hyperlien(s)] ;

● comme dans l’ensemble du site mespercussions.net, le clic sur l’icône Δ (hyperlien)

permet de revenir au début de la page ;

● pour toute suggestion concernant cette page web &… les autres, cliquer ici-même .

***

john cage

CAGE, John (1912, Los Angeles/us-ca – 1992, New York City/us-ny). Beaucoup plus qu’un compositeur de talent, John Cage fut un génie polymorphe de la créativité sonore ¬ encore que ce qualificatif me semble bien restrictif... Son catalogue percussif est impressionnant. La présentation que j’en propose ici doit beaucoup au remarquable travail d’André Chaudron qui, lui-même, doit - si j’ai bien compris - beaucoup à celui de Paul van Emmerik. Quelques précisions liminaires : je me suis attaché à lister toutes les compositions concernant exclusivement des percussions. J’ai volontairement laissé de côté les cinquante pièces pour piano préparé (entre 1940 & 1954/31’57.9864” For a Pianist), malgré leur très grand intérêt percussif. La majorité des informations discographiques que je propose sont principalement des enregistrements de ma discothèque, c’est leur seul critère de sélection. Les données discographiques réunies par André Chaudron sont complètes & fiables à 100 %, labeur au-dessus de tout éloge.

Les hyperliens des (dates) ciblent la chronologie comparative.

® Pour t’assurer que la composition de Cage que tu cherches figure bien dans ce catalogue (après tout, ce n’est qu’un extrait !), parcours les titres suivants (ordre chronologique : 1935 - 1992) & clique sur ta trouvaille (hyperlien) :

| But what about the noise of crumpling paper | Child of Tree | Credo in Us |

| Dance Music : for Elfrid Ide | Double Music | Fads & Fancies in the Academy |

| Haikai (1984) | Haikai (1986) | Imaginary Lanscape No 1 |

| Imaginary Landscape No.2 (first version) | Imaginary Landscape No 3 |

| Living Room Music | March (Imaginary Landscape No.2) | Marriage at the Eiffel tower |

| Music for an Aquatic Ballet | Music for Carillon No 1 | Music for Carillon No 2 |

| She is Asleep | Six | The City Wears a Slouch Hat |

| The Wonderful Widow of Eighteen Springs | Third Construction | three² |

| Trio | Twenty-Nine | 27'10.554" For a Percussionist |

~~~

[1] Quartet (1935) - n’importe quels instruments – c11 :00 - Edition Peters 6789 – Interprètes : ‘Amadinda Percussion Group’ (hu), ’Ensemble de Percusión de Montevideo Perceum’ (uy), ‘Percussion Ensemble Mainz Markus Hanke’ (de), ‘Slagwerkgroep Den Haag’ (nl).

Première œuvre, première surprise : le compositeur n’a pas fixé l’instrumentarium. C’est une optique qu’il adoptera encore vers la fin de son catalogue.

éléments δiscographiques

¤ 1991. « The Wooden Branch. 2. Percussion Group The Hague » – CD – Globe GLO 5072. [p 1-3 : 11:26]

1996. “ Percussion Ensemble Mainz Markus Hanke ” - CD – Col Legno 20215. [p 2-5 : 23 :47]

¤ 1999. “ Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 1 (1935-1941) ” – CD – Hungaroton 31844. [p 1-4 : 21:02]

2000. “ Ensemble de Percusión de Montevideo Perceum. Hacen asi ” - CD – ø. [p 5-7 : 16 :54]

¤ 2007. “ Amadinda Percussion Group. Legacies 7. Works for Percussion. Complete Edition. Vol. 5 (1936-1991) ” – CD – Hungaroton 36091. [p 2-4 : 14:23]

“ The Quartet is in 4 movements: I. Moderato ; II. Very Slow ; III. Axial Asymmetry - Slow ; IV. Fast. It may be performed with one or with both slow movements. The Quartet is a work of fixed rhythmic patterns. Cage composed the Quartet during his studies with Schönberg. This seems quite remarkable since the work is far from the spirit of the teacher, & has more in common with the works of a number of other composers. ” André Chaudron.

[2] Trio (1936) - 3 percussionnistes – 12:00 – Edition Peters 6763 - Interprètes : ‘Amadinda Percussion Group’ (hu), ‘Támmittam’ (it).

éléments δiscographiques

¤ 1990. “ Támmittam “ - CD - Artis 010. [p 2 : 3 :56 - l’ensemble est dirigé par le grand Guido Facchin, par ailleurs inoubliable rédacteur de Le Percussioni]

¤ 1992. “ Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 1 ” – CD – Hungaroton 36091. [p 5-7 : 3 :59]

“ La pièce est en 3 mouvements composés de cellules rythmiques fixes : Allegro - March - Waltz. Cage a incorporé Valse dans sa composition Amores de 1943. Dans la partition de la ‘New York Public Library’, Cage mentionne: ‘ Instruments include : 1st player : 3 woodblocks, 3 small tom-toms (wire brushes), bamboo sticks ; 2nd player : tom-tom (wire brushes), bass drum ; 3rd player: 3 woodblocks, tom-tom, bamboo sticks. ‘. “André Chaudron.

[3] Music for an Aquatic Ballet (1938) – instrumentarium inconnu, incluant des watergongs – 1°M : 02.07.1938, Los Angeles (us/ca).

“ On ne sait où se trouve la partition. En 1938, Cage était l’accompagnateur & le compositeur d’une compagnie de danse moderne à UCLA & on lui avait demandé de composer de la musique pour le ballet aquatique de l’équipe de natation. Comme la musique ne pouvait être entendue sous l’eau, Cage commença d’expérimenter avec des gongs, plongés dans l’eau qui pourraient être entendus par les nageurs. Il a également utilisé ce ‘water gong’ dans First Construction (in metal) & d’autres compositions. ‘’ André Chaudron.

Dans les jours qui viennent, je me propose de mieux comprendre ce qu’il en est exactement de ces watergongs… mf

[4] Marriage at the Eiffel Tower (1939) - 2 pianos (partiellement à 4 mains), divers sifflets-jouets & sirènes – 1°M : 24.03.1939, Seattle (us/wa), dansé par Bonnie Bird & Merce Cunningham (chorégraphie de Bonnie Bird).

“ Composés en collaboration avec Henry Cowell, George Frederick McKay, Silvestre Revueltas & Amadeo Roldán, livret de Jean Cocteau Les Mariés de la Tour Eiffel. ” précise André Chaudron.

[5] Imaginary Landscape No. 1 (1939) – 2 tourne-disques à vitesse variable, enregistreurs de fréquence, ‘piano muet’, & cymbale ; à interpréter comme un enregistrement ou une émission radio par 4 personnes – 6:00 – Edition Peters 6716 - 1°M : 24.03.1939, Seattle (us/wa), John & Xenia Cage, Doris Dennison & Margaret Jansen.

“ This is one of the earliest electro-acoustic works ever composed. (Some sources give it the credit of being the first ever, but there were earlier examples like Respighi's 'Pini di Roma' (1924), using pre-recorded sounds of birds). Cage uses a muted piano, large Chinese cymbal & 2 variable-speed turntables. On the first of the turntables a Victor frequency record (84522B) & a constant note record (nr.24) are played, on the second is another Victor frequency record (84522A). It was premiered in a program together with his Marriage at the Eiffel Tower. “André Chaudron.

[6] First Construction (in Metal) (1939) - sextuor de percussions avec un assistant – 6:00 - Edition Peters 6709 – Interprètes : ‘Les Percussions de Strasbourg’ (fr), ‘Quatuor Hêlios

’ (fr), ‘The Donald Knaack Percussion Ensemble’ (us).

élément βibliographique

¤ SCHICK, Steven. 2006. “First Construction (in Metal) (1939)”. in The Percussionist’s Art. Same bed, different dreams : 58-64+, musiques.

[Lors d’une diffusion radio, on a donné l’instrumentarium suivant : orchestral bells, thundersheets (≠ sizes), small sleigh bells, oxen bells (≠ sizes or Balinese button gongs), muted automobile brake drums, cowbells, Japanese temple gongs, Turkish Cymbals, muted anvils, suspended Chinese cymbals, muted gongs on pads, tam, suspended gongs, watergong (raised & lowered into a pail of water), prepared piano… mf]

éléments δiscographiques

¤ 1989. “ John Cage : 3 Constructions. The Donald Knaack Percussion Ensemble. Jay Clayton, voice ” – CD – Tomato 2696172. [p 1 : 8:33]

¤ 1991. “ John Cage. Works for Percussions. Quatuor Hêlios ” – CD – Wergo 6203-2. [p 7 : 10:03]

¤ 1992. “Irony. 3. Percussion Group The Hague” – CD – Globe GLO 5086. [p 1 : 10:15]

¤ 1999. “ Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 1 (1935-1941) ” – CD – Hungaroton 31844. [p 9 : 11:36]

« L'année même de la création de First construction in Metal, le compositeur américain John Cage, inventeur du piano préparé déclarait : ‘ la musique à percussion est une révolution. Son & rythme ont été trop longtemps soumis aux restrictions de la musique du XIX^e siècle &, aujourd'hui, nous devons lutter pour son émancipation. Demain, les oreilles pleines de musique électronique, nous entendrons la liberté...’ On est donc en droit de penser que cette œuvre, d'un musicien de 25 ans, écrite exclusivement pour percussions métalliques (gamelans, plaques de tôle, tambours de freins d'automobiles, etc...) représente une des premières étapes de cette libération du son, de cette volonté d'abandonner toute distinction entre le son musical & le bruit, de considérer le silence comme un élément musical & le hasard comme le fondement même de la vie. » fiche d’œuvre copiée sur le site des ‘Percussions de Strasbourg’, non signée mais ô combien claire-voyante !

« Passionné par l’exploration de nouvelles sources sonores, John Cage constitua dès 1937 un orchestre de percussion dans le but de développer un répertoire spécifique pour cette formation. Exclusivement conçue pour percussions métalliques, First Construction (in metal) pose la première pierre de l’édifice. En brisant l’hégémonie de la hauteur qui caractérisait la musique savante occidentale, Cage explore autant le timbre que la dimension rythmique. L’œuvre repose sur une organisation des durées rigoureuse que le compositeur qualifie de « micromacroscopique ». Les petites sections y sont reliées aux autres de la même manière que les plus grandes : une recherche de cohérence formelle poussée à l’extrême, une quête du miracle de l’Unité. » Corinne Scheider, 22.04.2006 (‘Clés d’écoute’)

“ The rhythmic structure is 4-3-2-3-4, 16 times 16 4/4 measures. This is Cage's first composition using fixed rhythmic structures. The composer uses standard as well as many unconventional instruments such as 8 anvils, watergong & 4 car brake-drums. “ André Chaudron.

[7] A Chant with Claps (1940) – voix (chant) & battements de mains – dd/Sydney Cowell - 1:00 – np.

“ Apparently given to Henry & Sidney Cowell on the occasion of a party celebrating their wedding anniversary. The recording on Mode mentions: ‘it was possibly composed in the same period as Party Pieces (1949-50).’ " André Chaudron.

[8] Dance Music : for Elfrid Ide (1940) – 6 percussionnistes (premier mouvement), 4 percussionnistes (deuxième mouvement), piano & 2 percussionnistes (troisième mouvement) – dd/Elfrid Ide. – chorégraphie : Elfrid Ide.

élément δiscographique

¤ 1992. “ Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 5 (1936-1991) ” – CD – Hungaroton 31848. [p 6-8 : 13 :02]

“ This work is not mentioned in any other worklist. The instrumentation for the three movements (I. [Fast] - II. - III. [With spirit]) is hand clap, block, 6 tom toms, claves, cowbells, rattle (first movement). toy piano, muted gongs, slide whistle, cymbal, bass drum, low tom tom & ratchet (second movement), piano, claves & slapstick (third movement). Bob Kosovsky writes : " The Music Division [of the New York Public Library, AC] has programs for Mills College's summer sessions. Those for 1940 & 1941 indicate that Cage was on the faculty of the Dance Department (not the Music Department), where he taught courses in how to accompany dance, on percussion, & apparently took on private students." André Chaudron.

[9] Second Construction (1940) – 4 percussionnistes – 6 :00 – Edition Peters 6791 - 1°M : 14.02.1940, Portland (us/or), John Cage, Xenia Cage, Doris Denison & Margaret Jansen – Interprètes : ‘Quatuor Hêlios’ (fr), ‘Quatuor Opéra Paris (Michel Gastaud, Christine Lagniel, Gérard Pérotin & Philippe Poncet’ (fr), ‘The Kroumata Percussion Ensemble’ (se), ‘The Donald Knaack Percussion Ensemble’ (us).

éléments δiscographiques

¤ 1983. « The Kroumata Percussion Ensemble » – CD – BIS CD 232. [réédition du LP ?- p 1 : 6 :44]

¤ 1987. ”AMADINDA. Percussion Group. Cage, Márta. Sáry. Reich. Ragtime. African Music” - CD – Hungaroton HCD 12855. [p 3 : 7:34]

¤ 1989. “John Cage ; 3 Constructions. The Donald Knaack Percussion Ensemble. Jay Clayton, voice” – CD – Tomato 2696172. [p 3 : 7:37]

¤ 1991. ’’John Cage. Works for Percussions. Quatuor Hêlios” – CD – Wergo 6203-2. [p 1 : 7:29]

¤ 1999. “Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 1 (1935-1941)” – CD – Hungaroton 31844. [p 10: 8:00]

« Construction in Metal n° 2 [sic] fait partie des trois Constructions que Cage composa entre 1939 & 1941. elle est écrite pour trois [sic] percussionnistes & quatorze instruments dont un piano préalablement préparé. Les instruments qui jouent les rythmes « actifs » (caisse claire, bols tibétains, cencerros) contrastent avec ceux qui sont non-rythmiques & ont davantage un rôle de « soutien » (gong à eau & le son du frottement des cordes du piano). » notice anonyme de présentation d’un concert.

« The use of rhythmic structures is characterisctic of this work. Like First Construction (in metal) it has 16 times 16 measures, divided 4/3/4/5. The work is dominated by a form of variation technique, while the use of traditional thematic variations is almost entirely absent. The instruments used are mainly metal & skin, including the use of a (prepared) piano (manually muted & producing siren-like sounds by means of sliding a cylinder on the strings, while a trill is produced on the keyboard). » André Chaudron.

[9.1] Bacchanale (Seattle/us,wa, mars 1940) – piano préparé – 7:00 - Edition Peters 6784 – 1°M : 28.04.1940, Seattle, John Cage ?, accompagnement d’une danse.

élément βibliographique

DIANOVA, DMA, Tzenka. 2008. John Cage’s Prepared Piano. The Nuts & Bolts. Victoria (ca) : Mutasis Books.

élément δiscographique

¤ 1986-1994. “John Cage. Works for Piano & Prepared Piano. Vol. IV. Joshua Pierce, piano, Dorothy Jonas, Joseph Kubera, Myra Melford, Fumiko Miyanoo, piano” – CD – Wergo 6159-2. [p 3 : 7:21]

“ Bacchanale is Cage's first work for prepared piano. He intended to write a piece for percussion ensemble, but the performance hall being too small, he started experimenting with objects inside the piano. The preparations are quite simple: weather-stripping, pieces of rubber, screws & bolts, placed between the strings. “

[10] Imaginary Landscape No.2 (first version) (1940) – pour enregistrements de fréquence constante ou variable, ‘string piano’ & percussion (soit 4 interprètes) – c5:20 - 1°M : 07.05.1940, Seattle (us/wa), Xenia Cage, Marie Balagno, Doris Dennison, Imogene Horseley, Margaret Jansen, Helen McDonald & John Cage (d.). Walter Nelskog, technicien. ; chorégraphie & de Bonnie Bird, danse de Bonnie Bird, Syvilla Fort, Dorothy Herrmann & Cole Weston.

élément δiscographique

¤ 1991. “John Cage. Works for Percussions. Quatuor Hêlios” – CD – Wergo 6203-2. [p 2 : 5:22]

« Cage recorded the work in a radio studio. There were four players, two assistants & a technician. The composition uses test-tone recordings (two players, changing the turntable-speed between 33¹/₃ & 78 rpm), prepared piano (one player) & percussion (tam-tam & large Chinese cymbal : 1 player). The assistants picked up the sounds of the players (2 players each), & the technician recorded everything. Cage later withdrew the work & used its title for another work, composed in 1942 & initially titled Fourth Construction. After the first performance of this work Cage renamed it to Imaginary Landscape no.2 (March) . » André Chaudron.

[11] Fads & Fancies in the Academy (1940) - 5 interprètes : interprète 1: caisse claire, battements de mains ; interprète 2 : 2 tom-toms, battements de mains, tub (toilette), tambour de frein, ‘string piano’ ; interprète 3 : piano, battements de mains ; player 4 : métronome, corbeille à papier métallique ; interprète 5 : danse, parole – 17:00 – Edition Peters 67524 - 1°M : 24.07.1940 – chorégraphie : Marian van Tuyl.

“ The programmatic design of this piece is quite unusual. It uses parody of children's songs, popular music, & satiric humor, resembling the music of William Russell from this period. Contents of the composition : I. Axioms: a. The pupil is eager to learn ; b. The pupil is constitutionally lazy ; c. We deal with the total child ; II. A Short Historical Sketch : a. Reactionaries ; b. Revolutionaries - Pitched Battle ; III. Vistas of the Future : a. Pessimist ; b. Optimist. Cage ¬ presented this composition to Don Gillespie at C.F. Peters in 1992, just a few months before his death. ” André Chaudron.

[12] Living Room Music (1940) – quatuor (percussion & parole) avec ou sans solo instrumental avec 3 percussionnistes – 8:00 – dd/Xenia (on caption title of 2nd movement) - Edition Peters 6786.

éléments δiscographiques

¤ 1999. “ Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 1 (1935-1941)” – CD – Hungaroton 31844. [p 11-14 : 8:16]

¤ 2007. « Images de peaux. Ensemble Régional de Picardie. Direction : Jean-Louis Pamart » - CD – LPA 002. [p 4-7 : 8 :01]

« The first & last movement are to be played on household objects such as magazines, a table, books, the floor or using architectural objects like window frames. Movement 3 is a melody performed by one player on " any suitable instrument ". This movement is optional. The text of movement 2 is by Gertrude Stein (The World is Round). » André Chaudron.

[13] Third Construction (1941) – 4 percussionnistes – dd/Xenia pour notre anniversaire - 15 :00 – Edition Peters 6794 – 1°M : 14.05.1941, San Francisco (us/ca), Xenia Cage, Doris Dennison, Lou Harrison & Margaret Jansen, conducted by John Cage - Interprètes : ‘Amadinda Percussion Group’ (hu), ‘Quatuor Hêlios (fr)’, ‘The Danish Percussion Group’ (dk).

éléments δiscographiques

¤ 1989. “John Cage ; 3 Constructions. The Donald Knaack Percussion Ensemble. Jay Clayton, voice” – CD – Tomato 2696172. [p 5 : 10:44]

¤ 1989. “Continuum Percussion Quartet. Works by John Cage, Lou Harrison, Christopher Rouse, Eugen Kurtz, Irwin Baselon, J. Verplanck” – CD – New World NW 382-2. [p 1 : 11:10]

¤ 1991. “John Cage. Works for Percussions. Quatuor Hêlios” – CD – Wergo 6203-2. [p 5 : 10:05]

¤ 1999. “ Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 1 (1935-1941)” – CD – Hungaroton 31844. [p 1-4 : 21:02]

“ The rhythmic structure is 24 times 24 measures. In each parts the phrase structure follows different proportion series, each of them being a rotation of the other: player 4 : [8,2,4,5,3,2], player 1: [2,8,2,4,5,3], player 3 : [3,2,8,2,4,5] & player 2 : [5,3,2,8,2,4]. The instruments used are rattles, drums, tin cans, claves, cowbells, lion's roar, cymbal, ratchet, teponaxtle, quijades, cricket caller & conch shell. “ André Chaudron.

[14] Double Music (1941) – 4 percussionnistes – 6 :00 - Edition Peters 6296 – Interprètes : ‘Amadinda Percussion Group’ (hu), ‘Ictus’ (be), ‘Manhattan Percussion Ensemble (d. Paul Price)’ (us), ‘Meadows Percussion Ensemble’, (us), ’Quatuor Hêlios’ (fr), ‘Quatuor du 15.06.1988/Jean Geoffroy, Thierry Miroglio, Jean Pierlot & Pascal Zavaro’ (fr), ‘Slagwerkgroep Den Haag’ (nl), ‘Támmittam’ (it), ‘The Ethos Percussion Group’ (us).

élément βibliographique

¤ LEGRAS, Joëlle. 1994. « Double, c’est double ». PERCUSSIONS (première série) . 33 (mars/avril 1994) : 3.

éléments δiscographiques

1961. “Concert for Percussion Orchestra”– LP/33-30 – Mainstream MS 5 011. [‘Manhattan Percussion Ensemble’ : p B.2 : 5:44]

1980. “Slagwerkgroep Den Haag” – LP/33-30 – Classical Records 180 491. [p A.3 : 6:30]

1983. ”Ictus. 1st Construction (in metal)” – LP/33-30 – Ictus N 0022. [p B.2 : 5:35]

1988. “Amadinda Percussion Group” – CD – Hungaroton 12991. [p 4 : 4:33]

¤1991. “John Cage. Works for Percussions. Quatuor Hêlios” – CD – Wergo 6203-2. [p 7 : 4:39]

1999. “The Ethos Percussion Group. The Persistence of Past Chemistries » - CD – [p 2: 6:38]

¤ 1999. “Amadinda Percussion Group. Legacies 2. Works for Percussion. Complete Edition. Vol. 1 (1935-1941)” – CD – Hungaroton 31844. [p 15 : 7:00]

¤ 2007. « Images de peaux. Ensemble Régional de Picardie. Direction : Jean-Louis Pamart » - CD – LPA 002. [p 2 : 4 :54] - Ce CD donne l’hyper minimum d’informations sur les musiques qu’il contient. Pas d’accord ! Les compositeurs (Bruno Giner, John Cage & Lou Harrison – celui-ci carrément oublié comme co-compositeur de la Double music avec John Cage -, Nicolas Martynciow & Christopher Rouse), les instrumentistes, & les mélomanes ne peuvent approuver un traitement si désinvolte. Sale temps pour les promeneurs ! mf]

« Composed in collaboration with Lou Harrison, independantly from eachother. Cage composed parts 1 & 3 (soprano & tenor), Harrison parts 2 & 4 (alto a bass). Dynamics are scarcely indicated, but the instrumentation is specific, although substitutions are allowed. They basically agreed on composing 200 measures. Cage's parts have a rhythmic structure of 14 times 14 measures (plus a coda of 4 measures), using the number series 4, 3, 2, 5. The instruments used are bells, brake drums, sistra, gongs, tam-tams & thundersheet. There is no progress from soft to loud in the work, it is just a continuous festive whole. » André Chaudron.

[15] Forever & Sunsmell (1942) – voix de basse & 2 percussionnistes – 5:00 – Edition Peters 6715 - 1°M : October 20, 1942 – Interprètes : Françoise Kubler + Jean Michel Collet (Radio France, 13.03.1988) [ce sont mes notes d’écoute, mais d’après Chaudron, la partition exige 2 percussionnistes. Françoise Kubler a–t-elle assuré une des parties ? Jean-Michel a rangé ses baguettes & fait maintenant de la prise de son… & puis, c’était il y a 20 ans !!! mf].

élément δiscographique

¤ 1989. “John Cage. 3 Constructions. The Donald Knaack Percussion Ensemble. Jay Clayton, voice” – CD – Tomato 2696172. [p 4 : 4:55]

« The composition consists of 2 parts (the first dramatic, the second lyrical), connected by an unaccompanied hummed interlude. The work follows the phraseology of the dance by Jean Erdman. Text by Edward Estlin Cummings. » André Chaudron.

[16] Imaginary Landscape No 3 (1942) - 6 percussionnistes – 3 :00 – Edition Peters 6717 – 1°M : 01.03.1942, Chicago (us/il), Xenia Cage, Katherine Manning, Brabazon Lindsey, Marjorie Parkin & Stuart Lloyd. [+ John ? mf]

“ The rhythmical structure is 12 times 12 (3, 2, 4, 3). The instruments are tin cans & a muted gong, combined with electronic & mechanical devices including oscillators, variable speed turntables playing frequency recordings, a buzzer, an amplified coil of wire & a microphone amplified marimbula. “ André Chaudron.

[no No] Fourth Construction.

“ The first mention of this work is in David Revill's book The Roaring Silence. According to Revill this is an unfinished composition from around 1942. Leta Miller's more recent essays The Art of Noise & Cultural Intersections: John Cage in Seattle (1938-1940) come to another conclusion: Fourth Construction is the original title of the work we now know as 'Imaginary Landscape No.2 (March)' (1942). In her essays Miller reverses the title to March (Imaginary Landscape No.2). “ André Chaudron.

[17] Imaginary Landscape No.2 (March) or March (Imaginary Landscape No.2) – (1942) – 5 percussionnistes (à l’origine, pour orchestre de percussion) – dd/Lou Harrison - 7:00 – Edition Peters 6721 - 1°M : 07.05.1942, San Francisco (us/ca), ‘Lou Harrison's Percussion Ensemble’.

élément δiscographique

¤1991. « John Cage. Works for Percussions. Quatuor Hêlios” – CD – Wergo 6203-2. [p 2 : 5:22]

“ The rhythmic structure is 3, 4, 2, 3, 5. The percussion instruments used are combined with an amplified coil of wire, attached to a phonographic tone arm. The instruments are tin cans, conch shell, ratchet, bass drum, buzzers, water gong, metal waste-basket & lion's roar. At the premiere the work was titled Fourth Construction. Cage later renamed it to it's current title. This work is unrelated to Cage's earlier & withdrawn Imaginary Landscape No.2 (1940). “ André Chaudron.

[18] The City Wears a Slouch Hat - (1942) - narrateur & 6 percussionnistes - dd/Xenia – 36:00 - Edition Peters 67497 – 1°M : 31.05.1942, émission radio de WBBM station de CBS/Chicago), partie des séries de "Columbia Workshop", avec Xenia Cage, Cilia Amidon, Stuart Lloyd, Ruth Hartman, Claire Oppenheim & John Cage (d.).

“ Subtitle is "Incidental music for the radio play by Kenneth Patchen". Text by Kenneth Patchen. In 1941 Cage got a commission for CBS Radio to write music for a radio play. Initially Cage composed work, based on his ideas using electronic sound effects, assuming this could be realized in the CBS studios. A week before the radio broadcast, Cage went over to make the recordings, but since the technician told him it could not be done in such a short time, Cage had to compose another work, just four days before its broadcast. The original manuscript is probably lost. The instruments are including: tin cans, muted gongs, woodblocks, alarm bells, tam-tam, bass drum, Chinese tom-tom, bongos [2 ou 4 fûts ? mf], cowbells, maracas, claves, ratchet, pod rattle, foghorn, thundersheet, sound-effect recordings, etc. The script sketches a surreal story on a man named 'The Voice' who wanders around a big city, meeting various characters & circumstances. The play was directed by Les Mitchell. Actors were Les Tremayne, Madelon Grayson, Forrest Lewis, Jonathan Hole, Frank Dane & John Larkin. “ André Chaudron.

[19] Credo in Us – (1942) – 4 interprètes : pianiste, 2 percussionnistes/gongs muets, boîtes en fer-blanc, buzzer électrique, & tom-toms ; un des interprètes joue d’une radio ou d’un phonographe - 12:00 - Edition Peters 6795 – 1°M : 01.08.1942, Bennington (us/vt), chorégraphie de Merce Cunningham & Jean Erdman.

élément δiscographique

1981. “Malmö Percussion Ensemble » - LP/33-30 – Caprice CAP 1265. [B.1 : 13:30]

“ The work was composed in the phraseology of the dance by Cunningham & Erdman. For the first time Cage uses records or radios, incorporating music of other composers in his own works. He suggests music by Dvorak, Beethoven, Sibelius or Shostakovich. Cage describes the work as a suite with a satirical character. Jean Erdman recalls that for the first performance a 'tack-piano' was used (a piano with tumbtacks inserted onto the felt of the hammers). The pianist mutes the strings at times or plays the piano body (as a percussionist). “ André Chaudron.

[19.1] The Wonderful Widow of Eighteen Springs – (1942) – voix & piano fermé – dd/Janet Fairbank – 2:00 - Edition Peters 6297 – 1°M : 05.03.1943, New York City (us/ny), Janet Fairbank, contralto & Karl Kritz, piano. [première pièce pour piano fermé ? mf]

élément δiscographique

1992. “ Amadinda Percussion Group. Legacies 3. Works for Percussion. Complete Edition. Vol. 2 (1941-1950) ” – CD – Hungaroton 31845. [p 5]

“ Text from Finnegan's Wake by James Joyce. The voice uses only 3 pitches & sings without vibrato like in folksong. The piano is closed, the pianist tapping with fingers or knuckles under the piano, on top of the keyboard lid, on its back or on top of the piano. The music resulted from the impression received on the text. “ André Chaudron.

[20] She is Asleep – (1943) – I : 4 percussionnistes (12 tom-toms) – II : Duo voix & piano préparé – I : c4:45 – I : Edition Peters 6746 – Interprètes : ‘Drums Würzburger Percussion ensemble’ (de), ‘Les Percussions de Strasbourg’ (fr), ‘Percussion Art Quartet’ (de), ‘Quatuor Hêlios’ (fr).

élément δiscographique

¤ 1991. “John Cage. Works for Percussions. Quatuor Hêlios” – CD – Wergo 6203-2. [p 6 : 11:40]

“ Both parts may be played seperately or together & in any order. Cage planned more parts to be added (see: A Room). […] The Quartet has complex rhythms & is prevailingly quiet, varying between p & ppp. “ André Chaudron.

[21] Amores (1943) - piano préparé & 3 percussionnistes – 9 :00 – dd/Rue Shaw – Edition Peters – 1°M : 11.06.1949, Paris (fr), John Cage/po (parties I & IV), avec Cunningham/chorégraphie – Interprètes : ‘Amadinda Percussion Group’ (hu), ‘Amores Grup de Percusió’ (es)/Pau Ballester, Ángel García & Jesús Salvador « Chapi », ‘Kiva’ (fr/us), ‘Quatuor Hêlios’ (fr), ‘Talujon Percussion Quartet’ (us), ‘Trio Le Cercle’ (fr), ‘Trio Pabian’ (fr) ; j’ai entendu (radio) Alexandre Régis jouer le n° 2 seul, ???. On aura remarqué que cette partition a fasciné des percussionnistes espagnols au point de les inciter à adopter son titre comme partie du nom leur groupe.

éléments εnregistrés

« ‘Trio Le Cercle’ » - Radio France – INA (hors commerce).

¤ 1991. « John Cage. Works for Percussions. Quatuor Hêlios » – CD – Wergo 6203-2. [p 3 : 9:43]

« Les quatre mouvements de Amores (1943) démontrent, en un seul cycle que le concept de piano préparé (mouvements I & IV) n’est rien d’autre que la transposition d’une composition pour percussion sur un seul instrument : le son rendu par chacune des touches est autonome, chaque touche opérant sur un instrument à percussion particulier. Ainsi le piano préparé équivaut à un ensemble de percussions joué par un seul instrument. » d’après András Wilheim.

“ The work consists of 4 parts: I. Solo (prepared piano) - II. Trio (9 tom-toms [joués à mains nues ?], pod rattle) - III. Trio (7 woodblocks, not Chinese) - IV. Solo (prepared piano). The preparation is made using 9 screws, 8 bolts, 2 nuts and 3 strips of rubber. The piano expresses eroticism & tranquility, based on the permanent emotions in Indian tradition. The rhythmic structure of solo nr.2 is 3, 3, 2, 2 & of trio 1: 10 times 10. Trio nr.2 was written in Santa Monica as part of Trio (1936). “ André Chaudron.

[22] Four Dances (What so Proudly We Hail) (1942-1943) – tenor (voix sans paroles), piano préparé (+ battements de mains) & percussion (tom-tom, battements de mains, battements de pieds) – 20:00 - Edition Peters 67450 – 1°M : 16.01.1943, New York City (us/ny).

élément δiscographique

2005. “ Amadinda Percussion Group. Legacies 4. Works for Percussion. Complete Edition. Vol. 4 (1940-1956) ” – CD – Hungaroton 31847. [p 9-12 : 19:46]

“ Dance nr.1 is scored for piano & percussion, dance 2 for tenor & piano, dance 3 for piano & dance 4 for piano, tenor & percussion. The original title of the composition was What So Proudly We Hail. Music for the dances of Hanya Holm. It was later retitled as Suite of four dances & published as Four Dances. “ André Chaudron.

[23] Party Pieces (Sonorous & Exquisite Corpses) - (1944-1945) – n’importe quel instrument mélodique ou à clavier – 12:00 - Edition Peters 66500 – 1° M : instrumentation by Robert Hugues : août 1982, Aptos (us/ca) [Aptos est la commune où Lou Harrison a habité durant plus de quarante ans & organisa le Cabrillo Music Festival, mf]

Lou Harrison & John Cage, Cabrillo Music Festival,

élément δiscographique

1983. « Brooklyn Philharmonic Symphony Orchestra » - LP/33-30 – Gramavision Records GR 7006. [B.1 : 9:53]

[Cette procédure n’est pas sans rappeler – sans rappeler seulement - celle du « cadavre exquis » inventé par les Surréalistes que Cage connaissait bien (cf. son amitié avec Jean Arp). La référence est évidente (exquisite corpses). Ces Party Pieces rappellent aussi la façon de faire utilisée par les douze compositeurs d’Entente préalable^, – œuvre destinée à commémorer les Quarante années de musiques percussives des ‘Percussions de Strasbourg’. (titres-jeux-de-mots/homéomorphismes/Entente préalable. mf]

¡ AMATEUR DE PERCUSSIONS !

Tu t’apprêtes à citer un extrait de cette page du Catalogue de John Cage, sois sympa de faire précéder ta citation de…

EXTRAIT DE http://www.mespercussions.net/oeuvres/catalogues_de_compositeurs/CAGE.html

(date du jour de ta citation)

Merci, à bientôt ! Michel Faligand

[23.1] A Flower – (1950) – voix & piano fermé - dd/Louise Lippold – 4:00 - Edition Peters 6711 – 1°M : 20.01.1952, New York City (us/ny), John Cage/po, (+ voix peut-être), avec Lippold/chorégraphie.

élément δiscographique

¤ 1989. “John Cage. 3 Constructions. The Donald Knaack Percussion Ensemble. Jay Clayton, voice” – CD – Tomato 2696172. [p 2 : 2:39]

“ The work is written in a double rhythmic structure, following the structure of the dance for which it was written: 7x7 measures of ⁵/₄ (1-3-1-2) & 5x5 measures of ¹⁰/₄ (½-1½-½-1-1½). The singer should vocalize without vibrato, as in folk singing, except where indicated. Transpositions may be made in order to sing in a low & comfortable range. The piano lid is closed & should be knocked on, either on the front part, or on the back part. Two ways of knocking are indicated: with the fingers or with the knuckles of a closed fist. The dance being suggestive of flora, Cage tried to suggest fauna [?] in the music. “ André Chaudron.

[24] 4’33” (1952, première version – 1960 seconde version) – n’importe quel(le) instrument ou combinaison d’instruments - 4'33" (ou n’importe quelle durée) – version I : Edition Peters 6777a, version II : Edition Peters 6777 – 1°M : 29.08.1952, Woodstock (us/ny), David Tudor/piano.

« 4’33’’ est une partition de musique avant-gardiste composée par John Cage, souvent décrite de manière erronée comme « quatre minute-&-demi de silence. » En fait, le morceau a été écrit pour le piano. Il est composé (le morceau pas le piano !) de trois mouvements. Sur la partition (Editions Peters), chacun de ces mouvements est précédé d’un chiffre romain (I, II, III) & annoté TACET [1]. Une notule du compositeur complète la partition : ‘ Le titre de cette œuvre traduit la durée totale de son interprétation en minute & secondes. A Woodstock(ca/on), ces trois parties étaient de 33’’, 2’40’’ & 1’20’’.’ » Marcel Chauvin (John sans cage, 1968)

“ John Cage's famous silent piece. Although composed in 1952, Cage already thought about it in 1948 where he mentions it as 'Silent Prayer' in his article “A Composer's Confessions”. In the work no intentional sounds are made during it's entire duration. In the first version the work contains 3 movements lasting 33", 2'40" & 1'20". These timings were chance determined. Later on Cage cancelled this division & reworked the piece, creating a wholly different composition from the original. Much has been written about 4'33" & about Cage's ideas behind it's silence. Two of those ideas: 1. Silence does not exist. One simply should listen & open one's ears. 2. Silence is a mean to separate tones & chords, in order to avoid melodic interpretations to chronology of sounds. “ André Chaudron.

élément βibliographique

FORNEL, Anne de. 2008. “ ’Not Wanting to Say Anything About Marcel’ & les Song Books de John Cage”. Dissonanz . 104 (décembre 2008) : 4-9, diagrammes, photo.

[25] Music for Carillon No 1 (1952, transcriptions en 1958 & 1960) – pour carillon – dd/Mary Caroline Richards - 4:00 - Edition Peters 6725a/b.

“ The original graphic score consists of rectangular ares [sic] with points in them. The position of these points in this area determines position in time (horizontally) & pitch (vertically). An inch (horizontally) represents 1 second. The graph may be transcribed for any number of octaves. All tones are to be played separately, although some tones are played simultaneously in the two-octave version. The performer uses a chronometer while performing the work. The composing means involved the use of eleven rectangular pieces of paper, which were folded & cut. Some of the folding was symmetrical, while others were cut asymmetrically. The unfolded pieces of paper were placed on the total area of what became the graphic score, points being inscribed through the cuts in the paper patterns. Use of patterns, frequency & relation to the structural points were chance determined. In the 2 & 3 octave versions whole notes are notate on conventional staves. In these scores one system equals seven seconds. The 1961 revision of the work mentions:’ Each page has 2 systems of ten seconds each (except the final system which is nine seconds), space representing time, horizontally, relative pitch, vertically with three large squares of the graph. ‘ (John Cage : note on title page). “ André Chaudron.

[26] Music for Carillon No 2 (1954, transcription en 1958) – pour carillon – dd/David Tudor pour son anniversaire de 1954 - Edition Peters 6726 (partition graphique), 6726a (version pour 2 octaves).

“ Cage made the original score on a single piece of cardboard, by punching holes through it, by means of a pin. This score has 3 systems. Music for Carillon No. 2 should be played reading the score from top to bottom, Music for Carillon No. 3 by turning the page upside down (180 degree rotation). The work is graphed in a space where time is horizontal & pitch vertical. Cage made a 2-octave version in 1958, but he indicates that versions for any range (& any duration) may be made. “ André Chaudron.

[27] 27'10.554" For a Percussionist (1956) – solo percussion solo, bande magnétique (?) - Edition Peters 6778 – Interprètes : Mircea Ardealeanu (ro), Robyn Schulkovsky^[^lien^] (us, de), Jan William (us).

“ This is the last work in Cage's '10 000 things' series. Percussion instruments are divided into four groups: metal (M), wood (W), skin (S) & all others (A) e.g. electronics, radios, whistles, etc.), represented as 4 lines in a system. The choice of instruments is determined by the performer. The vertical position of the notes indicates volume, the centerline representing a dynamic of mf. There are 3 types of sound events: point events, line events & a mixture of points & lines. The notation is in space where a page equals one minute. It may be performed as a recording or with the use of a recording. The compositional means included chance operations & the use of imperfections in the paper upon which the work was written. The work was previously titled 27'7.614" For a Percussionist. “ André Chaudron.

[28] Child of Tree - (1975) – percussion solo – 8:00 - Edition Peters 66685 – 1°M : 08.03.1975 – Interprète : ‘Ensemble Daswirdas’ (ch).

éléments δiscographiques

1998. “Ensemble Daswirdas. Branches” – CD - Edition Wandelweiser Records 9901.

2004. “Arnold Marinissen. LAYERED RHYTHMS. Works for Solo Percussion” – CD BVHaast 0503. [p 4 : 8:06]

Arnold Marinissen © Marco Borggreve - DR

“ Being on a tour in Arizona with the Cunningham Dance Company in 1975, one of dancers (Charles Moulton) brought a dried cactus to Cage, placed it near his ear & plucked the spines of it. This inspired Cage to use cacti as musical instruments in pieces like Child of Tree & Branches. The score consists solely of performance instructions on how to select 10 instruments, using I-Ching chance operations. All instruments should be made of plant materials, or be just the plant materials themselves (e.g. leaves from trees, branches, etc.). One of the instruments should be a pod (rattle) from a poinciana tree, which grow in Mexico. ’ Using a stopwatch, the soloist improvises clarifying the time structure by means of the instruments. This improvisation is the performance. ‘. (From performance instructions). “ André Chaudron.

[29] Branches – (1976) - percussion solo, duo, trio ou orchestre (effectif quelconque) – 8:00xn - Edition Peters 66684 – Interprète : ‘Ensemble Daswirdas’ (ch).

élément δiscographique

1998. “Ensemble Daswirdas. Branches” – CD - Edition Wandelweiser Records 9901.

“ The music contains solely of performance instructions. If Branches is performed as a solo, it begins with a performance of Child of Tree. The instruments used are amplified pods, cacti & other plant materials such as pod rattles from a poinciana tree, an 'instrument' Cage specifically mentions in the score. The choice of the other instruments is made by the performers, using I-Ching chance operations. The cacti are played by plucking its needles with toothpicks, the sounds being amplified by cartridge-like attachments, constructed by John Fullemann. Branches is basically a series of variations of Child of Tree, strung together on a string of silence. “ André Chaudron.

John Cage cooking (mushrooms ?) in his Bank Street

[30] R/13 (where R=Ryoanji) – (1983) - percussionniste avec 13 objets trouvés.

“ Probably a derivative of Child of Tree & Branches. “ André Chaudron.

[30.1] Haikai - (1984) - pour flûte & zoomozoophone – dd/ Dean Drummond & Stefani Starin – 8:09 - Edition Peters 67388. [pièce différente de celle qui porte le même titre]

éléments δiscographiques

¤ 1990. “ Newband. Microtonal Works by Partch Cage LaBarbara Drummond “ – CD – Mode 18. [p 3 : 8:09]

Zoomoozophone Dean Drummond © Steve Hockstein - DR

“ This composition consists of sixteen duets, each written on a single staff. It is a microtonal work. The Haiku structure (5:7:5) is manifested in the numbers of events. The zoomoozophone is an instrument invented by Dean Drummond, using 129 aluminium tubes tuned to a 31-note per octave source scale, in just intonation. “ André Chaudron.

[30.2] Music for______ (1984-87) - voix, flûte, hautbois, clarinette (Si -), trompette (Ut), cor (Fa), trombone, 4 percussions, 2 pianos, 2 violons, alto & violoncelle - Edition Peters 67040.

[Curieuse composition qui – cf. l’abondante discographie d’icelle – a motivé diverses formations : Music for one (hautbois solo), Music for two (by one) (voix seule), Music for two (2 pianos) & Music for four (quatuor à cordes ou … 4 percussions). C’est une version de cette dernière instrumentation que je viens de retrouver dans ma discothèque… mf]

élément δiscographique

¤ 1991. « Michael Pugliese. Percussion plays Xenakis – Feldman - Cage, Vigeland – Nørgård – Mancini » – CD – Mode 25. [p 7 : 14:46]

[31] But what about the noise of crumpling paper which he used to do in order to paint the series of "Papiers froissés" or tearing up paper to make "Papiers déchirés” ? Arp was stimulated by water (sea, lake, & flowing waters like rivers), forests – (1985) - pour percussion (3-10 interprètes) – com/Association Jean-Hans Arp - dd/’Les Percussions de Strasbourg’ – 17:00 - Edition Peters 67074 – 1°M : 16.11.1986, Strasbourg (fr/67), ’Les Percussions de Strasbourg’ – Interprètes : ‘Maelstrom Percussion Ensemble’ (us), ‘Quatuor Hêlios’ (fr)

éléments δiscographiques

1995. « Maelstrom Percussion Ensemble conducted by Jan Williams. Imaginary Landscapes » – CD – Hat (now) Art 145. [p 6 : 26:00]

2000. « John Cage. Credo in Us… More works for percussion » – CD – Wergo 6651-2. [p 5 : 16 :51]

« Dix parties parmi lesquelles les musiciens jouissent d'une pleine liberté de choix en fonction de la durée désirée du morceau. (Ils peuvent n'en jouer que trois, les jouer toutes, répéter certaines parties à leur gré).Chaque musicien dispose au minimum de deux instruments de faible résonance, dont il joue à l'unisson. Ces instruments sont faits de matériaux différents (bois, métal & verre par exemple, mais pas bois, métal & métal). Exécution lente sans chef d'orchestre, chaque musicien suivant son propre rythme. Des changements de rythmes légers, à peine marqués, permettent de donner plus de vie aux différentes parties. Les musiciens peuvent être placés autour du public, ou bien parmi le public lorsque ce dernier est debout, ils peuvent se produire sur scène, mais ne doivent surtout pas être trop près les uns des autres. » fiche d’œuvre copiée sur le site des ‘Percussions de Strasbourg’, non signée traduisant la citation ci-dessous

Jean Arp : Cravates & têtes ou configuration au chef perdu,

collage – DR - Aperçu de l'exposition ART IS ARP

" “In celebration of the work of Jean Arp on the occasion of the centenary of his birth". The title comes from a letter written by Greta Ströh, manager of the Arp Foundation. This letter is part of the correspondence between Ms.Ströh & John Cage, concerning this project. There are 10 parts of which between 3 to 10 may be used in a performance. Repetitions may be made. Each player chooses 2 slightly resonant instruments (or more) of different materials played in unison. In the parts these are notated as + . The o in the parts stand for water, paper or other unidentified sounds. Dynamics are free, but should be varied. A performance should be without conductor, very slow, each player following his or her own beat. Each performer plays his part twice, but as each player keeps his own time, the second performance will be different, since things occur at different moments. Performers may be stationed around the audience, or among them, or on stage. If the works is performed on a stage, the players should not be too close together. “ André Chaudron.

[32] Haikai – (1986) – pour gamelan (8 interprètes) – dd/‘Si Pawit, gamelan degung’ of the Evergreen Club of Toronto (ca) – 20:00 - Edition Peters 67145.

éléments βibliographiques

BECKER, Judith. 1983. “One Perspective on gamelan in America”. Asian Music . 15 : 82-90.

HARRELL, Max Leigh. 1984. The Music of the Gamelan Degung of West Java. PhD Dissertation. UCLA.

élément δiscographique

1996. “Evergreen Club Contemporary Gamelan. Evergreen Club Road to Ubud” - CD - Artfiact Music ART-021. [p 3-10 : 12:20]

“ The instruments for this work are : suling - bonang - jengglong - saron - panerus - gambang - kendang - kempul & gong. The haiku structure (5:7:5) is not manifested in durations, but in the numbers of events (attack points). In the performance notes Cage explains that each of the eight haikai (he names them 'bonang-jengglong-silence haikai') has seventeen events, all of them having their own lengths.” André Chaudron.

[La première lecture de la liste des instruments m’a fait tiquer : premièrement parce que

le mot ‘panerus’ (ou penerus) est, un adjectif indonésien signifiant ‘petit’, deuxièmement parce que, telle quelle, la liste compte neuf instruments. J’ai – évidemment - pensé que ‘panerus’ qualifiait le terme saron voisin. Pour lever mes doutes, j’ai écrit directement à Mark Duggan (un des responsables du ‘Evergreen Club Contemporary Gamelan’), voici sa réponse :

“12.03.2009 - Hello Michel, The correct instrumentation for Haikai is :

suling – bonang -- jengglong - saron panerus (called panerus in the score) - saron peking (called saron in the score) - gambang - kendang - kempul and gong (one player).

You can add ageng to gong if you wish but if it is not included, it is normally understood.

Let me know if you have any more questions. all the best, Mark Duggan for Evergreen Club Contemporary Gamelan”

Ce commentaire m’a paru indispensable. mf]

[33] One⁴– (1990) – batteur solo – dd/Fritz Hauser – 6:59 - Edition Peters 67349 – 1°M : 18.01.1991, Fritz Hauser.

éléments δiscographiques

¤ 2007. “ Amadinda Percussion Group. Legacies 7. Works for Percussion. Complete Edition. Vol. 5 (1936-1991) ” – CD – Hungaroton 36091. [p 5 : 6:56]

“ The score contains six time brackets for the left hand & eight for the right hand. Each time bracket contains one single sound, resulting in a total of fourteen sounds for the whole composition. Dynamics & choice of drums & cymbals are free. “ André Chaudron.

[34] Four⁴ – (1991) – 4 interprètes & des instruments à percussion quelconques – dd/’Amadinda Percussion Group’ - 72:00 - Edition Peters 67428.

“ Four⁴ uses flexible time-brackets. The instruments are not specified. The performers have to choose their instruments, attaching a number to each of them. In the parts Cage gives a number in each of the time-brackets, referring to these instruments. The beginnings & endings of the sounds are sometimes widely separated, at times covering more than 5 minutes. Every time-brackets features only one sound. The four performers have 22, 16, 10 & 15 time-brackets each. The composition was written especially to be recorded on a CD, hence its duration, then the maximum duration of a CD. “ André Chaudron.

[35] Six – (1991) - 6 interprètes jouant des instruments quelconques – dd/’Slagverkgroep Den Haag’ – 3:00 - Edition Peters 67421.

élément δiscographique

¤ 2007. “ Amadinda Percussion Group. Legacies 7. Works for Percussion. Complete Edition. Vol. 5 (1936-1991)” – CD – Hungaroton 36091. [p 1: 3:08]

“ Single tones are placed in flexible time-brackets. Beginnings & endings of the brackets overlap, resulting in the possibility of short, long or middle-long tones. Longer tones should be played softly, shorter tones may be louder, but not necessarily so. Longer tones should be played using tremolo or by brushing. “ André Chaudron.

[36] Three²- (1991) - 3 percussionnistes (jouant 3 instruments quelconques mais numérotés) – dd/Michael Pugliese & the Talking Drums – 9:00 - Edition Peters 67412 – 1°M : 25.10.1991, New York City (us/ny), Kory Grossman, Michael Hinton & Michael Pugliese + Merce Cunningham/chorégraphie & danse.

[37] Twenty-Nine - (1991) - 2 timbales, 2 percussionnistes, piano, cordes (0.0.10.8.6) [chiffrage du nombre de cordes selon les pupitres, cf. abréviations] – dd/’The Sinfonieorchester des Saarländischen Rundfunks’ & the Alte Opera - com/The Frankfurt Feste & ‘The Saarländischer Rundfunk’, avec le soutien de Gesellschaft der Freunde der Alten Oper - 26:00 - Edition Peters 67466c.

“ May be performed alone or with Twenty-Six &/or Twenty-Eight. In a combined performance the longest piece should start & close, the other work(s) starting within the period of time that is the difference of length. The first viola will start the videoclock. All works consist of flexible time brackets with single tones played only once. “ André Chaudron.

INCROYABLE n’est-ce pas ? & n’oubliez pas de retourner faire une visite sur le site d’André Chaudron, ainsi que je l’ai déjà écrit, la discographie est un véritable monument.

élément βibliographique

DIANOVA, DMA, Tzenka. 2008. John Cage’s Prepared Piano. The Nuts & Bolts. Victoria (ca) : Mutasis Books. ISBN 978-0-9809657-0-4.

La toile n’est pas avare de bibliographies, à vous de choisir celle qui vous semble la mieux adaptée à vos motivations (donc à vos recherches personnelles). Ainsi que vous le voyez (supra), je signale l’ouvrage (primé outre-atlantique), à ma connaissance le plus récemment (août 2008) paru. Il ne faut pas négliger l’essai de Joan Retallack, référencé dans la page ‘titres-jeux de mots’/homéomorphismes/Party Pieces de mes percussions.net. Si vous n’avez encore rien lu, essayez de vous procurer les livres de Richard Kostelanetz.

éléments ωebographiques

De ce côté-là aussi, il y a du grain à moudre, ne serait-ce qu’avec wikipédia. Mais [annonce !] « le gagnant est :… www.johncage.info » .

AU REVOIR !

préférences instrumentales

Les chiffres suivant les noms des instruments renvoient aux œuvres dans leur ordre de présentation chronologique, comptage de la présence par pupitre. Pour lever ses doutes sur l’identité d’un instrument, se reporter à Equivalence des noms d’instruments .

alarm bells : [18]

any melody or keyboard instruments : [23]

bamboo sticks : [2], [2] -

bass drum : [2] – [8] - [17] - [18]

bells : [14]

block : [8]

bongo^[^lien^] : [18]

books : [12]

brake drum : [11] - [14]

buzzers : [17] – [19]

carillon : [25] – [26]

cencerros : [9]

Chinese cymbal : [10]

Chinese tom-toms : [18]

choix libre : [1] – [35]

claves : [8], [8] - [13] - [18]

conch shells : [13] - [17]

cowbells : [8] - [13] - [18]

cricket caller : [13] -

cymbals : [5] - [8] - [13] – [33]

hand clapping^[^lien^] : [7] - [8] - [11], [11] - [22]

gamelan^[^lien^] : [32]

gongs^[^lien^] : [14]

Japanese temple gongs : [6]

lion’s roar^[^lien^] : [13] - [17]

magazines : [12]

maracas : [18]

microphone amplified marimbula : [16]

metal waste-basket : [11] - [17]

metronome : [11]

muted automobile brake drums : [6]

muted anvils : [6]

muted gongs : [16] - [18] - [19]

muted gongs on pads : [6] - [8]

muted piano : [5]

orchestral bells : [6]

oxen bells (≠ sizes or Balinese button gongs) : [6]

phono turntables : [5]

pianos : [4] - [8] - [11] - [19]

pod rattle : [18] – [21] – [28] – [29] – [30]

prepared piano^[^lien^] : [6] - [9] - [10] - [21] - [22]

quijades : [12] -

ratchet : [8] - [13] - [17] - [18]

small sleigh bells : [6]

snare drum : [9] - [11]

string piano : [11]

suspended Chinese cymbals : [6]

suspended gongs : [6]

table : [12]

tack-piano : [19]

tams^[^lien^] : [6] - [10] - [14] - [18]

teponaxtle : [12] -

thundersheets (≠ sizes) : [6] - [14] - [18]

Tibetan bowls : [9]

tin cans : [13] – [16] - [17] - [18]

tom-toms : [2], [2], [2] – [8], [8] – [11] - [19] - [21] - [22]

toy piano : [8]

toy whistles : [4]

Turkish cymbals : [6]

wash-tub : [11]

water drum (plexiglass) : [31]

watergongs : [3] – [9] - [17]

watergong (raised & lowered into a pail of water) : [6]

window frames : [12]

woodblocks : [2], [2] - [18]

wordless tenor voice : [22]

zoomoozophone^[^lien^] : [30.1]

catalogues de compositeurs

chronologie comparative

(dates de composition des pièces pour percussions seules)

compilation en chantier… (actualisation : 2009.05.15)

1930 : Rítmicas V (Amadeo Roldán)

1931 : Ionisation (Edgard Varèse)

1936 : Trio (John Cage)

1939 : First Construction(in metal) (John Cage)

1940 : Second Construction (John Cage) – Bacchanale (John Cage), première composition pour piano préparé - Fads & Fancies in the Academy (John Cage)

1941 : Third Construction (John Cage) - Double Music (John Cage-Lou Harrison)

1942 : Imaginary Landscape No 3 (John Cage) - March (Imaginary Landscape No.2) (John Cage) - The City Wears a Slouch Hat (John Cage)

1943 : She is Asleep (John Cage) - Amores (John Cage)

1946 :

1950 :

1952 : Music for Carillon No 1(John Cage)

1954 : Music for Carillon No 2 (John Cage)

1956 : 27'10.554" For a Percussionist (John Cage)

1960 :

1967 :

1969 : Persephassa (Iannis Xenakis)

1970 : Drumming (Steve Reich, *1936)

1971 : Le Coup de foudre (Georges Aperghis, *1945)

1972 : Clapping music (Steve Reich, *1936)

1973 : Music for Pieces of Wood (Steve Reich, *1936) - Six Pianos (Steve Reich, *1936)

1974 : Parcours (Georges Aperghis, *1945)