06 Oct 08
1 edit
Originally posted by ThinkOfOneSounds absolutely thrilling and fulfilling. Given the opportunity I probably would've farted during the piece - to underscore my point.
It's interesting that such a "simple" piece would have problems to be solved. For the percussion quartet I saw, the seating was in four sections surrounding a square in the center. They each stood with heads bowed in a corner of the square facing the center with the score and timing device on a music stand in front. They turned the pages of the score to articipated" by occasionally very lightly sliding or rocking my shoe on the hardwood floor.
But hey, to each their own. That I understand...
06 Oct 08
Originally posted by darvlayRec'd.
As a piece within a piece, silence can have a great impact on the listener. As a piece on its own, it's dee you em dumb. I understand the statement that Cage is making with the piece but I'll be damned if I ever find myself taking a performance of it seriously.
I might use the time to go to the bathroom.
07 Oct 08
Originally posted by darvlayWith the lack of maturity you exhibit, there's little wonder that certain concepts are beyond you.
Sounds absolutely thrilling and fulfilling. Given the opportunity I probably would've farted during the piece - to underscore [b]my point.
But hey, to each their own. That I understand...[/b]
07 Oct 08
I think - as with many pieces of modern art (and kudos to the person who identified it as such), and even more particularly to much of the art from from Cage's era - 4'33" certainly wasn't intended as a 'joke' (although humour plays a part in understanding it), but the passage of time has rendered it as 'simply' a (frankly rather lame) joke to a contemporary audience.
Looked at as a piece of art history - which is where something so purely conceptual emerged from and was always going quickly to return to - it's certainly more than simply a joke.
Still doesn't make my top ten tracks, though...
07 Oct 08
Originally posted by DrKFI think that the point is that it doesn't make much sense to "reproduce" it nowadays in a recital, beyond some sort of common masturbatory pleasure to those that like knowing something others don't.
I think - as with many pieces of modern art (and kudos to the person who identified it as such), and even more particularly to much of the art from from Cage's era - 4'33" certainly wasn't intended as a 'joke' (although humour plays a part in understanding it), but the passage of time has rendered it as 'simply' a (frankly rather lame) joke to a contempo ...[text shortened]... certainly more than simply a joke.
Still doesn't make my top ten tracks, though...
Personally, I don't care much for that attitude.
22 Oct 08
Originally posted by DrKFI once burned a CD for a friend of mine with about 20 tracks on it, all 4'33" and called it 'The Sound of Silence'. Never performed it myself yet, though, but it's definitely not a joke. Why no-one ever though of making a piece that consists only of silence, when all the great music before had silence as a major part of it?
I think - as with many pieces of modern art (and kudos to the person who identified it as such), and even more particularly to much of the art from from Cage's era - 4'33" certainly wasn't intended as a 'joke' (although humour plays a part in understanding it), but the passage of time has rendered it as 'simply' a (frankly rather lame) joke to a contempo ...[text shortened]... certainly more than simply a joke.
Still doesn't make my top ten tracks, though...
Just performing it as a, say, encore, makes no sense, at least it doesn't if you don't tell the audience you're going to play it.
There they are, waiting you to start that virtuoso Paganini caprice, lovely Chopin nocturne or thunderous Liszt work...