[silence] to gf/pk/jz and other participantsRE: silence Digest, Vol 79, Issue 12

[Ingvar Loco Nordin]

Well, really, the only decent thing to do is to bring Cage back to  
life, to settle this shit. Let's do that! Who will tajke it on him/ 
herself to contact him? The problem is that he probably is busy in his  
new life by now, being about 15 or 16 years old. If you read this,  
young boy, can you please contact the list and settle the shit, ok?

Loco


14 dec 2008 kl. 21.24 skrev Glenn Freeman:

> Hi Neal,
>
> If curiosity and genuine interest/knowledge were lacking why would  
> we (me, Petr, Brian, etc.) choose to perform and record so many Cage  
> works? I see various different methods, all equally valid. My point  
> has more to do with how we interact with orchestral players, etc.  
> who have no idea about Cage. In terms of the Number Pieces I have  
> suggested, based on experience, that everything is in the music  
> itself and that this was Cage's intent. I am also suggesting that  
> perhaps due to his own past experiences with conductors, players,  
> etc. and his own learning process, that Cage revised his way of  
> writing for orchestral players and other musicians dramatically in  
> these late works. I find these to be the works of a master composer  
> who had learned from a lifetime of experimentation how to write  
> everything down clearly for everyone, while achieving what he sought  
> to achieve. I find the results and clarity of musical thought  
> astonishing. Of course, some will disagree and that is fine. That is  
> all. I find fault with no one. If I offended anyone by suggesting  
> what I suggest, it is not my intent. I am offended by no one. If I  
> were easily offended I would have stopped recording these works a  
> long time ago.
>
> There are various ways to learn: via teachers, via experience and  
> via a combination of both. No one way is better. It simply depends  
> on each situation and each person.
>
> Glenn
>
> On Dec 14, 2008, at 8:48pm, Neal W. Meyer wrote:
>
>> I guess what is most essential to me in Cage performance is a good  
>> faith engagement with the score, which I think must always include  
>> genuine curiosity and interest in how others have done it, and  
>> especially in what Cage was interested in. That's what I find  
>> lacking in Glenn Freeman's take, at least as expressed in this  
>> thread. Also, Cage invites a liberated imaginative engagement in a  
>> way that other composers don't always do, and if that active  
>> playful attitude is not present and encouraged, I don't think such  
>> a performance is going to be authentically Cagean. That's where I'd  
>> find fault with Petr Kotik, at least as presented in this thread.
>
> Glenn Freeman
> OgreOgress productions
> http://ogreogress.com
>
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