[silence] Cursive II

Tue Jun 20 21:53:55 EDT 2006

Hi Glenn,

Why don't you do a couple of things: first, get the DVD yourself and 
look at the print materials enclosed and listen to it.  And, if you are 
not satisfied, why not contact Fiona Flowers in the London office of 
C.F. Peters, who knows *way* more about all of this than we do?  She is 
reachable at fflower@uk.edition-peters.com.

Warmly,

Laura Kuhn
John Cage Trust

On Jun 20, 2006, at 9:00 AM, silence-request@list.mail.virginia.edu 
wrote:

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> Today's Topics:
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>    1. Re: John Cage in Cursive II (Glenn Freeman)
>    2. Re: silence Digest, Vol 49, Issue 12 (Daniel Wolf)
>    3. Conf: Music & Gesture 2, 20-23 July 06, RNCM (UK): booking
>       (Anthony Gritten)
>    4. Re: John Cage in Cursive II (Rod Stasick)
>    5. Re: CHARLEMAGNE PALESTINE article (Rod Stasick)
>    6. Mode Records (Stuart Riddle)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 19 Jun 2006 12:09:39 -0400
> From: Glenn Freeman <glennf@christinafong.com>
> Subject: Re: [silence] John Cage in Cursive II
> To: silence@list.mail.virginia.edu
> Message-ID: <97203979-5560-431D-B044-CBB6FB6EC232@christinafong.com>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> Rod and Laura,
>
> Who are the performers on this recording, or, which source recordings
> were used?
>
> Glenn
>
> Rod Stasick wrote:
>
>>> Five = 14:40
>>> Sixty-Eight = 28:53
>>> Five = 4:53
>>> Ryoanji = 9:22
>>> Five = 5:01
>>> Five = 4:49
>>> Seventy-Four = 12:03
>>>
>>> Laura Kuhn, Director
>>> John Cage Trust
>>
>> Thanks for this!
>> I received the disc on Friday,
>> but haven't had a chance to get at it.
>> Possibly tonight.
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 19 Jun 2006 18:48:23 +0200
> From: Daniel Wolf <djwolf@snafu.de>
> Subject: Re: [silence] silence Digest, Vol 49, Issue 12
> To: silence@list.mail.virginia.edu
> Message-ID: <4496D557.3080002@snafu.de>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> -------------------------
>>
>> Message: 4
>> Date: Mon, 19 Jun 2006 00:26:24 -0400
>> From: "zachary moldof" <zacharygrangermoldof@gmail.com>
>>
>> My initial impression of anyone interpeting Cage's works in a jazz 
>> format is
>> that it wouldn't materialize as something true to the concepts of 
>> Cage's
>> music--most jazz musicians are virtuosii to some degree, thus their 
>> approach
>> to a piece of Cage's music seems like it would not be well-suited.
>
> The issue is not virtuosity -- many of Cage's pieces require one form 
> of
> virtuosity or another -- but attitude.  Most musicians, and most jazz
> musicians among them, cultivate skills for the performance of music as 
> a
> directly expressive medium. In general (but not always), Cage's music 
> is
> an exploration of the possibilities that occur when such an expressive
> agenda is set aside.
>
>> My secondary response is that there is no wrong way to play a piece of
>> Cage's music, and that is the point of it--his music is written in a 
>> format
>> that tends to shy away from parameters and dictation, and instead 
>> leans
>> towards concepts and diplomacy.
>
> I believe that you're wrong on this point. Cage's scores -- like any
> scores -- specify one thing or another, and to not play what has been
> specified, or to play something that is either not called for, or to
> play it in a way that is not consistant with the score is to play it
> wrong.  A flute player who adds fluttertongue to Ryoanji is playing it
> wrong.  A pianist who throws in an extra slamming-shut of the piano lid
> in Music of Changes is playing it wrong.  A conductor who decides that
> he doesn't like bowed pianos when Cage asks for them, and then tells 
> the
> pianist to play on the keyboard, is also doing it wrong.
>
>> My Tertiary response is that it would have to be a group of musicians 
>> who
>> truly understand the essence of Cage's philosophy, not just his 
>> written
>> music.
>
> I believe that you're also wrong on this point.  If a group of 
> musicians
>   has the required musical technique or skills and approaches a Cage
> score seriously and honestly, managing to distinguish between their own
> personal needs and those of the work at hand, they will certainly have
> all that is necessary and sufficient to perform the music. "Cage's
> philosophy" (a term that seems, unfortunately, to get bandied about as
> often as "Cage's compositions") was "worked out" both more completely
> and consequently in his work as a composer than as a writer, and as a
> composer, Cage was gifted at efficient notation.
>
> Daniel Wolf
>
>
> ------------------------------
>
> Message: 3
> Date: Mon, 19 Jun 2006 18:45:06 +0100
> From: "Anthony Gritten" <Anthony.Gritten@rncm.ac.uk>
> Subject: [silence] Conf: Music & Gesture 2, 20-23 July 06, RNCM (UK):
> 	booking
> To: <silence@list.mail.virginia.edu>
> Message-ID: <s496f0ce.004@ngwnameserver.rncm.ac.uk>
> Content-Type: text/plain; charset=US-ASCII
>
> Dear list,
> Apologies for cross-posting.
> The Second International Conference on Music and Gesture, taking place
> at the Royal Northern College of Music (UK) from Thursday 20th to 
> Sunday
> 23rd July 2006, draws closer. If you're thinking of booking, there is
> still time to reserve a place: the programme of events and registration
> / accommodation form can be downloaded from the RNCM website (see
> 'Research Events').
> Best wishes,
> Anthony.
>
> ____________________________________________
> Dr Anthony Gritten FRCO
> Head of Postgraduate Studies and Research
> Royal Northern College of Music
> 124 Oxford Road
> Manchester M13 9RD
> UK
> Tel: (44)(0)161-907-5380
> Email: anthony [dot] gritten [at] rncm [dot] ac [dot] uk
> Web: http://www.rncm.ac.uk
>
>
> ------------------------------
>
> Message: 4
> Date: Mon, 19 Jun 2006 12:07:03 -0500
> From: Rod Stasick <rod@stasick.org>
> Subject: Re: [silence] John Cage in Cursive II
> To: SilenceList <silence@list.mail.virginia.edu>
> Message-ID: <53079566-5D61-4A16-A252-B1F921125B97@stasick.org>
> Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes;
> 	format=flowed
>
>
> On 2006 Jun 19, at 11:09 AM, Glenn Freeman wrote:
>
>> Rod and Laura,
>>
>> Who are the performers on this recording, or, which source recordings
>> were used?
>
>
> Well, it doesn't say in the notes (?!)
> One would think that there'd be something like,
> "Thanks to _________ for use of the music"...or something like that.
> On one of the last pages of the booklet,
> it mentions design, authoring and encoding; producer; subtitles;
> packaging design;
> photos; liner notes; translations; booklet editor; DVD producer;
> executive producer and
> "Music by John Cage ? Peters Edition, London"
>
> The front inside booklet page shows:
>
>
> Cursive II
>
> A Ballet by Lin Hwai-min for
> Cloud Gate Dance Theatre of Taiwan
>
> Premiere National Theatre of Taipei, 30 August 2003
>
> Choreography Lin Hwai-min
> Music John Cage
>
> Music
> Excerpts from
>
> ? Five 3
>
> ? Sixty-eight
>
> ? Five (first version)
>
> ? Five 4
>
> ? Ryoanji
>
> ? Five (second version)
>
> ? Seventy-four for orchestra
>
> Set design Austin Wang
> Lighting design Lin Keh-hua
> Costume design Lin Jing-ru
>
> Dancers
> Cloud Gate Dance Theatre of Taiwan
>
> About middle of the booklet there is this statement:
>
> "The music of John Cage mixes instrumental music with sounds of nature.
> As in previous works, the choreographer shows an unfailing instinct to
> find the right music to go with the unfolding movements.
> Even those totally resistant to contemporary music will have to admit
> that an extraordinary blend has been achieved,
> which also makes Cage's music more seductive."
>
>
> Sorry to say that I've yet to get at it.
> I'm busy getting ready for a month in Germany
> and I'm trying to wrap up some projects before leaving.
>
> Now is lunch...
>
>
> R~~
>
>
>
>
>
>
> ---
> Now playing: Pandit Pran Nath - Raga Malkauns - 21 VIII 76 NYC
>
>
>
>
>
>
>
> "Never doubt that a small group of thoughtful, committed citizens can
> change the world. Indeed, it's the only thing that ever has." --
> Margaret Mead
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Mon, 19 Jun 2006 23:39:34 -0500
> From: Rod Stasick <rod@stasick.org>
> Subject: Re: [silence] CHARLEMAGNE PALESTINE article
> To: SilenceList <silence@list.mail.virginia.edu>
> Message-ID: <06CC1747-1483-402E-9815-CF47F8CB2491@stasick.org>
> Content-Type: text/plain; charset=MACINTOSH; delsp=yes; format=flowed
>
>
> On 2006 Jun 19, at 3:43 AM, Graham Urquhart wrote:
>
>> ***
>> *hmm...sounds like it.
>
>
> Yes, I've since learned that it doesn't take much
> (liquid)
> to get him to this point.
> Anyway, now it's a pity...
>
>
> ???
>
>
>
>
>
>
> ---
> Now playing: Karlheinz Stockhausen - Donnerstag Aus Licht: Michael's
> Jugend
>
>
>
>
>
>
>
> Rotokas and Mura-Piraha have only 11 phonemes, the smallest on record.
>
> ------------------------------
>
> Message: 6
> Date: Tue, 20 Jun 2006 08:31:17 +0100
> From: Stuart Riddle <stuart.riddle@virgin.net>
> Subject: [silence] Mode Records
> To: Silence List <silence@Virginia.edu>
> Message-ID: <C2A3E689-002E-11DB-A553-0030654F59F8@virgin.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
>
> Sorry to be off topic - but I have had problems getting through to Mode
> via email - Brian, are you out there? Can you contact me off-list?
> Thank you,  Stuart
>
>
>
> End of silence Digest, Vol 49, Issue 13
> ***************************************
>