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Subject: Re: One8 - msg#00030List: music.john-cagelike?" or "does the recording accurately represent what Cage wrote down in the published music?" of much importance? Have you listened to the recording? If so, what do you think about what you hear? There were at least 3 different bows being used during recording sessions (none of them BACH.bogen) and since I am not a cellist I have limited knowledge about what bows were being used. One of the bows looked like a large horseshoe with very loose strings ... it draped over all four strings and looked very rugged ... not too nice to look at ... very old and beat up. For the recording sessions I was concerned with the overall sound character of the piece -- its sonic nature ... for me these types of concerns are illuminated by indications in the score (in this case, nothing to do with bow choice). It was up to the cellist to determine the technical issues ... I was there to capture and then refine the result in a way that represented the written music best, given the situation. Also, this recording was made as part of a larger series [Cage's complete Number Pieces for strings and/or percussion] and it was important to record the work in a way that tied it into the larger whole ... stylistically and technically. Since there are no bow indications in the score my main concern (for this recording) was to be sure the cellist was able to realize the piece as accurately as possible, using whatever methods (whether orthodox or highly inventive) needed to be used. I have yet to be asked what gauge (how long, how many strands, etc.) of fishing line I used to record the bowed piano parts for Twenty-Nine (major part of that work ... same with Fourteen). After asking around (on this list ... browse the archives!) I came up with a solution and then experimented and modified it during the sessions as needed. For One8, the cellist (who wishes to remain anonymous) did exactly the same. I think Cage would have loved for players to discover different solutions on their own, depending on the situation ... as long as the score was able to be realized as written. Some very interesting solutions were employed on various chords in order to realize the One8 recording ... many of those solutions are not too practical for a live performance situation. Should recordings of pieces as complex as One8 be simple snapshots of actual performances? I never approach the rec ording medium in this way. Anton Lukoszevieze wrote: > What exactly is the 'alternative' bow used on the OgreOgress CD? i have no idea. > How does it work? it causes all four string sound at once. > What does it look like? there were several, but one looked like a very large horseshoe. > Who's playing it? the cellist wishes to remain anonymous. ___________________________________________________________ $0 Web Hosting with up to 200MB web space, 1000 MB Transfer 10 Personalized POP and Web E-mail Accounts, and much more. Signup at www.doteasy.com -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ Thread at a glance:
Previous Message by Date: click to view message previewRe: Cowell: performer instructionsYes, I was confusing about this, Cowell's "26 Simultaneous Mosaics" (1963). The parts for cello, violin, clarinet and percussion each contain 5 sections, and the piano part has 6 - total of 26. Cowell chose to use his Elegy for JFK as one of the cello sections. Each of the five parts has this instruction: "All players start and stop as they please and choose the order of the movements as they please. Use repeats and/or da cao ad lib. "Use lots of rest between movements so that everything is not always going at once. "There is no score; each is on his own. "The pianist may give a sign when he feels that the last round has come (7 or 8 minutes) but each player finishes whatever mosaic he is playing." H.C. Louie ______________________________________________________________________ Eric S. Theise wrote: Hi Louie, Eric S. Theise writes: but they are so short that they confuse more than reveal. That IS the piece though. Earlier, you said "Each player makes his own part, there is no score." and now: The score instructions tell the performers to leave long silences between their various sections, so that everything isn't going on at once. That cello part is from an elegy Cowell wrote after JFK's death (Mosaics is from 1963). When the end of a performance is signaled, each player finishes the Mosaic (s)he is on. This part confuses me. Are the players really free to do anything at all, and the cellist simply chose to play (or drew) Cowell's elegy for JKF, or are there fragments that are eligible to be played? I'm just curious if there would be any phrases that would be heard in any performance of Mosaics (just at different places, different orderings) or if anything is possible. For my uses, I think I would be interested in a piece that had some degree of reproducability, e.g., although every realization of In C is different, it is always recognizable as In C. Thanks for sharing the memory of your rehearsal. --Eric -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ Next Message by Date: click to view message previewOne4Hello, I'd like to ask about Cage's One4, for solo drummer. The instructions specify 'drums and cymbals'. However, I have heard of many performances involving other sorts of percussion instruments, such as gongs and scrappers etc. I'm assuming this will run along the threads of other discussion we've been having with regards ONe8 etc. So what is the stand on this issue? I am perparing for a performance of this piece myself, and I have tried both ways, both to great effect. Just that my conscience digs at me when I use other instruments! Also, much of the instructions seem to suggest a 'drumset' sort of set-up. The subtitle 'for solo drummer' and the specification for 'drums and cymbals', seems to suggest so. Should I try to keep as close as possible to such a set-up? Thanks! -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ Previous Message by Thread: click to view message previewRe: One8We are in agreement! One should always try perform what is indicated the score. Therefore, both MODE's and OgreOgress's recording of One8 are quite similar in that they differ greatly (in terms of "technology" and the written music) from Wergo's recording of One8. Ironically, the question of broken chords in Wergo's One8 is actually similar to the Takahashi/Feldman issue below ... Brian Brandt wrote: > In my humble opinion, the curved bow (or at the very least some > sort of bass-bow) is an integral part of the piece. > Performing One8 without utilizing the bow, the "technology" > that it was written for is, well, not One8. Aki Takahashi wrote: > "...Because the broken chords are all notated in the score!" ___________________________________________________________ $0 Web Hosting with up to 200MB web space, 1000 MB Transfer 10 Personalized POP and Web E-mail Accounts, and much more. Signup at www.doteasy.com -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ Next Message by Thread: click to view message previewRe; One8What exactly is the 'alternative' bow used on the Ogre CD? How does it work? What does it look like? Who's playing it? A -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ Loading Comments...
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