Looking up from the endless chill and gloom of this past winter, I see that it’s been four weeks since I last posted here. Mea culpa. I had been using weekly playlists as a shorthand way of producing implicit reviews, but even those fell by the wayside under an unexpected rush of writing assignments and adjusting(…)
Twenty years ago, Petr Kotik planned a concert to celebrate the music of John Cage that became a memorial. The feature work was Atlas Eclipticalis, one of the series of wonderful works Cage made from star charts. The performance was enough to wake up a certain prominent critic to the possibilities and joys(…)
Perhaps the true measure and quality of greatness in Cage is that his life and work ignore such thinking, letting it pass like the breeze. The best art doesn’t offer answers, it asks probing, fascinating questions. It is antithetical to this value to think that one thing is the answer to all things in Cage, when his achievement lies on a spectrum that, in maturity, begins with tossing coins and continues to question after question after question, leaving us to explore what answers might lie inside ourselves.
On the home page of this site, I maintain a news feed that keeps track of stories on John Cage, in this, his centennial year. I’ll also be writing a couple things for publication in other journals, and in the meantime, I troll the intertubes for news of new and reissued recordings (if you have(…)
My concert-going so far this year has been dominated by John Cage, the American Mavericks festival and other musics on the new/avant/experimental spectrum. Coming home afterwards, I have been drawn to recordings, relatively recent and new, that just give me pleasure. In heavy rotation: Brahms: Complete Works for Violin and Piano, Arabella Steinbacher, violin, and(…)