Sonatas and Interludes
John Tilbury, piano
Part of a reissue program by Decca and DG, which will feature 50 recordings by 50 different artists of important works from the 20th century, this new edition of John Tilbury’s excellent 1975 recording of John Cage’s Sonatas and Interludes is also a welcome addition to the spate of Cage centenary releases. Known for his performances of New York School composers, Cardew, and his work as an improvisor, Tilbury is an ideal interpreter of this piece. His performance is an incisive one, embracing both gamelan-like percussive elements imbued by the preparations as well as the classically proportioned organization of the works’s proto-sonata structure (when composing the piece, Cage was thinking of Scarlatti’s sonatas rather than Beethoven’s).
The sound has held up well, imparting a warm LP era vibe without lacking in detail. The close-miked quality of the recording makes some of the effects created by Cage’s preparations all the more apparent. It’s like sitting next to Tilbury while he plays, rather than hearing a more muted effect further out in the hall.
If all of the reissues in this series return to us elusive treasures such as this recording, we are in for a trove indeed.
Treuting recently released sheet music for Amid the Noise, which can be purchased at Good Child Music.
This year, a great number of artists and ensembles are celebrating John Cage’s centenary – even Jessye Norman and Meredith Monk are getting in on the act as part of Michael Tilson Thomas’s revival of the American Mavericks series with the San Francisco Symphony. While it will be fascinating to see that some of these “out of the box” Cage performances will be happening, it’s also nice to hear that groups like So Percussion, who have a long track record performing Cage’s music, are celebrating the centenary in style. On 3/26, they are taking part in the American Mavericks series at Carnegie Hall (details here).
The concert will be the culmination of a tour by the group featuring Cage’s Third Construction as the centerpiece of Cage-themed program entitled We Are All Going in Different Directions.
There’s an equally imaginative recorded component So’s feting of the maestro of indeterminacy. On 3/27, Cantaloupe will release So Percussion’s “John Cage Bootleg Series.” The release includes a blank LP (the better with which to perform 4’33″!), a CD sampler, and a card with download codes that will enable listeners to obtain all of the group’s Cage bootlegs online. And the audio artifact lover in me delights in the handsome homemade feel of its handsome packaging. Top to bottom, Cage’s aesthetic is well manifested in So Percussion’s activities this Spring!
We Are All Going in Different Directions: So Percussion Celebrates Cage
Feb 28: Vanderbilt University, Nashville, Tennessee (Cage’s Third Construction)
March 2: The Royal Conservatory, University of Toronto, Toronto, Canada
March 6 + 7: The McCullough Theatre, University of Texas, Austin
March 10: Lawrence University in Appleton, Wisconsin (Cage’s Third Construction)
March 26: Zankel Hall, Carnegie Hall, NYC
John Cage: Credo in US (1942)
Sō Percussion / Matmos: Needles (w/ Matmos) (2010)
John Cage: Imaginary Landscape #1 (1939)
John Cage: Quartet for Percussion, from She is Asleep (1943)
Cenk Ergün: Use (w/ Cenk Ergün & Beth Meyers) (2009)
Dan Deacon: “Bottles” from Ghostbuster Cook: The Origin of the Riddler (2011)
John Cage: 18’12”, a simultaneous performance of Cage works
-Inlets (Improvisation II) (1977)
-0’00″ (4’33″ No.2) (1962)
-Duet for Cymbal (1960)
-45’ for a speaker (1954)
Jason Trueting: 24 x 24 (w/ special guests) (2011)
John Cage: Third Construction (1941)
Courtesy of the John Cage Trust blog.