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John Cage - Music for Percussion Quartet
Price: € 11,99
WWE 1CD 20015

John Cage
Music for Percussion Quartet

1
Credo in Us 12:57 Share
2
Quartet- Moderate 04:27 Share
3
Very Slow 06:06 Share
4
Axial Asymmetry-slow 07:46 Share
5
Fast 05:28 Share
6
Second Construction 07:25 Share
7
She´s Asleep 04:32 Share
8
Third Construction 10:54 Share
Total Time 59:35
Digital Booklet - only with album
As early as in 1942, in Credo in Us, Cage employed not only a percussion ensemble but also sounds from the radio and records. Therefore, quite in accordance with what the composer would have wished, the materials used by the Percussion Ensemble Mainz in this recording range from Beethoven's fifth symphony (vinyl record, including the rustling) to ABBA, Tina Turner and advertising slogans. It goes without saying that rhythms play an important part in music for percussion. Cage, though, was also interested in developing new percussion sounds and, thus, new musical tools. In order to ensure that the performers would nevertheless always remain as free as possible in their interpretation the composer permitted them, for instance, to choose their own instruments in Quartet (1935). Second Construction and Third Construction, on the other hand, have a fixed instrumentation. She's asleep (1943) is a quartet for tom toms and is also based on the concept of an extremely sophisticated differentiation of sound. The Percussion Ensemble Mainz miraculously succeeds in combining their meticulous, well-planned presentation of Cage's works with an underlying spontaneous tension maintained throughout the performance.

1CD

Instrumental

Ensemble

Contemporary

Recommendation
The waves of the Atlantic "beating upon the shores of the Canary Islands:" the Concierto Atlántico. Also on this album: La Luz del Aire, Latir Isleño and Soledad
From subtle irony to direct provocation: Satie, the complacent gentleman with a hat and goatee, meets the "pianist-futurist" Antheil. 
In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight
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