(September/Setembro 5, 1912 – August/Agosto 12, 1992)
]In A Landscape (1948)
variations 5 (1965) – Link with full feaTure film of the entire performance from a 1966 German broadcast.
The actual músic/coreography begins after 5 minutes of the 49:25 minute video contained therein.
Esta ligação, para a obra “Variações V”, de 1965 , contém a actuação completa que se pode começar a visionar após cerca de 5 minutos do começo do vídeo, de 49 minutos: é uma actuação que terá sido transmitida na televisão Alemã em 1966.
Songbooks (John Cage: music & E.E. Cummings: lyrics, 1970)
w/ Cathy Berberian on vocals.
..pelos 100 anos de John Cage.
“Praias de Fu…..a IV” (painting) – From the Beaches of Absolution (text)
From beaches of absolution
a horrid stench..
a protrusive bulge of havoc,
death and misguided Humanity
poisons the air in a thicket-like array of fumes
more and more impenetrable
by each sorrowful step inconspicuously taken.
– ancient sands that care not
nor notice Man’s misgivings.
Bleached, broiled and barren in a
they sickley stare back at the face of their maker in innocence.
They sit there upon a living bed
dead to one’s lamentations
simply caressing our soles (souls)
step by step.
– and all the while Petty Theft and Larsony of the heftiest degree
dance upon our graves..
written by me (G. Almeida)
The image is of a painting : “Praias de Fukush… IV “, September 26th – 2011
( more than a month from the above, and a day past Rememberance..)
Steadfast in inaudible prayers
my name is Man.
(on a far lighter and fairer tone.. a Silence)
Behold the power and expression of together uttering “No-Sound”.
***** A brief note regarding Cage’s 4′ 33”
– Composed in 1952, this piece is most likely the most notorious and controversial within a long, diversified line of compositions by the author.
No matter what one thinks and feels regarding said piece: love, amusement, scorn, bewilderment, or awe it is impossible to be indifferent or remain the same after after having been in attendance of a performance, after “hearing” it.
Originally scored in three movements for any given instrument or group of instruments, the tension created while performing and/or perceiving the work is absolutely incredible.
[ form : 1st Movement – 30” , 2nd Movement – 2′ 23”, and the 3rd Movement – 1´40” ]
Here Cage truly acheives his desire to create a work in which both fases necessary an fundamental for an audience to perceive (and receive / experience) a work of musical art is completely irrelevant and removed from having any influence whatsoever upon each and every performance of said piece. The work is “rid of” and completely free of composer/performer(s), so to speak.