Newsgroup: it.arti.musica.classica
Titolo: CAGE 4'33'' (Live BBC Proms)

http://www.bbc.co.uk/proms/whats-on/2012/august-14/14208
 

 
http://www.bbc.co.uk/proms/whats-on/2012/august-14/14208
 
 
 
 
come scarico il programmino in pdf?
http://www.bbc.co.uk/proms/whats-on/2012/august-14/14208/programme-notes
 

 
http://www.bbc.co.uk/proms/whats-on/2012/august-14/14208/programme-notes
 
 
 
Non � in PDF, � fatto in Flash.
 

 Non è in PDF, è fatto in Flash.
 
come scarico il Flash?

 Non è in PDF, è fatto in Flash.
 
risolto col copia+incolla
 
John Cage (1912–92) 4’33” (1952) At a recital on 29 August 1952, in a
place made famous later by a very different musical event – Woodstock,
New York – the pianist David Tudor sat down, closed the keyboard lid
and played nothing. That was the first movement, and there were two
more, which Tudor indicated by briefly opening the lid and closing it
again. After four minutes and 33 seconds, the duration exactly
prescribed by the composer, the executant stood up to take his bow.
Every performance of 4’33” relives that occasion of 60 years ago, for
at every performance the music is exactly the same. It is also
completely different. For one thing, no audience now can be unaware,
as most of that 1952 audience was probably unaware, of what to expect.
Then again, if we take 4’33”as an invitation to listen to sounds we
normally strive to ignore in a concert hall – the hum of lighting or
air-conditioning, a clank backstage, whispers, noises from outside, a
cough – then every performance is unique. Cage himself certainly
understood the piece that way, and opened it up for any number of
performers and any duration, so that we could be listening to 4’33”all
the time, if only we would open our ears. That, however, is only one
aspect of this complex composition. 4’33” is also silence. It was the
logical culmination of efforts by composers of the preceding half-
century and more (Webern, Satie) to remove almost everything; and it
was an almost inevitable step for an artist who appreciated the deep
paradoxes of Zen. We may take it as an opportunity to listen to
silence as music and perhaps to discover something of silence’s
infinitude. There is the silence of waiting for no sound and the
silence of not waiting for a sound, the silence of hearing nothing and
the silence of not hearing anything, the silence of listening
to4’33”and the silence of not listening to4’33”. Cage had announced
his desire ‘to compose a piece of uninterrupted silence’ in a lecture
he gave five years or so before the Woodstock performance. What
finally gave him the courage to do so was seeing the ‘White Paintings’
of his friend Robert Rauschenberg. Silence is difficult. Programme
note © Paul Griffiths
 
Previously at the Proms Cage’s First Construction was the first of his
seminal creations to reach the Proms, opening a typical Pierre Boulez/
BBC Symphony Orchestra programme in 1972; there followed more
conventionally scored and structured music by Carter, Messiaen and
Stravinsky. A few days later the Late Night Prom presentation of
HPSCHD at the Roundhouse involved 52 tape recorders, 16 film
projectors and seven harpsichordists: Richard Bernas, Roger Woodward,
David Tudor, Annea Lockwood, Frederick Page, John Tilbury and
Cornelius Cardew. Cage’s Third Construction was heard in 1984, a Proms
premiere by Nexus, and again in 2003, courtesy of the Amadinda
Percussion Group. A performance of Roaratorio marked the composer’s
75th birthday in 1987 – but the ultimate showcase is yet to come. ©
David Gutman Delve into Proms history for yourself by searching the
online database of all Proms performances at 
bbc.co.uk/proms/archive
.