|
Background and influences In 1951, Cage visited the anechoic chamber at Harvard University. An anechoic chamber is a room designed in such a way that the walls, ceiling and floor will absorb all sounds made in the room, rather than bouncing them back as echoes. They are also generally soundproofed. Cage entered the chamber expecting to hear silence, but he wrote later, "I heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation." • There has been some skepticism about the reliability of the engineer's comments, especially being able to hear one's own nervous system (a mild case of tinnitus might be a more likely explanation for hearing a quiet, high-pitched sound). Whatever the truth of these explanations, Cage had gone to a place where he expected total silence, and yet heard sound. "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music."• The realisation as he saw it of the impossibility of silence led to the composition of his most notorious piece, 4′33″. Cage wrote in "A Composer's Confessions" (1948) that he had the desire to "compose a piece of uninterrupted silence and sell it to the Muzak Co. It will be 4 and a half minutes long — these being the standard lengths of 'canned' music, and its title will be 'Silent Prayer'. It will open with a single idea which I will attempt to make as seductive as the color and shape or fragrance of a flower. The ending will approach imperceptibly."• Another cited influence for this piece came from the field of the visual arts. Cage's friend and sometimes colleague Robert Rauschenberg had produced, in 1951, a series of white paintings, seemingly "blank" canvases (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings… when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'"; Cage's musical equivalent to the Rauschenberg paintings uses the "silence" of the piece as an aural "blank canvas" to reflect the dynamic flux of ambient sounds surrounding each performance. Performances The premiere of the three-movement 4′33″ was given by David Tudor on August 29, 1952, at Woodstock, New York as part of a recital of contemporary piano music. The audience saw him sit at the piano and lift the keyboard lid. Some time later, without having played any notes, he closed the lid. A while after that, again having played nothing, he lifted the lid. And after a period of time, he closed the lid again and rose from the piano. The piece had passed without a note being played, in fact without Tudor or anyone else on stage having made any deliberate sound, although he timed the lengths on a stopwatch while turning the pages of the score. Richard Kostelanetz suggests that the very fact that Tudor, a man known for championing experimental music, was the performer, and that Cage, a man known for introducing unexpected non-musical noise into his work, was the composer, would have led the audience to expect unexpected sounds. Anybody listening intently would have heard them: while the performer produces no deliberately musical sound, there will nonetheless be sounds in the concert hall (just as there were sounds in the anechoic chamber at Harvard). It is these sounds, unpredictable and unintentional, that are to be regarded as constituting the music in this piece. The piece remains controversial to this day, and is seen as challenging the very definition of music. The length of 4′33″ is in fact not designated by its score. The instructions for the work indicate that it consists of three movements, for each of which the only instruction is "tacet," indicating silence on the part of the performer or performers. The title of the piece in each performance is determined by the length of silence chosen. Cage chose the length of the famous first premiere performance by chance methods using I Ching models, and later said that it just as easily could have been any other length. There is no evidence supporting the sometimes-made claim that Cage chose the length deliberately, four minutes and thirty-three seconds being 273 seconds and absolute zero being temperature of −273 °C. Recordings 4′33″ has been recorded on several occasions, one version being "performed" by Frank Zappa (part of A Chance Operation: The John Cage Tribute, on the Koch label, 1993). An "orchestral" version of 4′33″ given by the BBC Symphony Orchestra was broadcast on BBC Radio 3 in January 2004; this performance may have been simultaneously televised on BBC Four, the recording of which was made available on iFilm in 2006. A perhaps somewhat tongue-in-cheek version was recorded by the staff of the UK Guardian newspaper on 2004-01-16.• A (probably fictitious) story tells that a 7" vinyl version of 4′33″ was at one time popular on the juke boxes of a number of bars, as it gave customers a relief from an otherwise relentless soundtrack of rock and roll. A performance of 4′33″ was broadcast on Australian radio station ABC Classic FM, as part of a program exploring "sonic responses" to Cage's work.• The Cassandra Complex released a version of 4'33" on their 1993 album "Sex & Death".• 4′33″ No. 2 In 1962, Cage wrote 0′00″, which is also referred to as 4′33″ No. 2. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition." Audio (ersatz) Video | ||||||||||
|
| |||||||||||
 |
|
| |