kimberlyyeo010198

There has been so much material about John Cage online of late that it is difficult to sort through it all. Let me just point to two very smart items, this , by conductor and percussionist Steven Schick, and this , by composer and critic Matthew Guerrieri. I'm singling these two out because they both focus on Cage's work in perhaps its most critical moment.  There is a tendency — due more to later Newmusicland politics than to the music itself in its own era — to disassociate Cage's project from the larger avant-garde musical project of the time, in particular accentuating the differences and distances from both the post-Schoenbergian American 12-toners and the European serialists.  Recovering those connections does not mean ignoring the differences (indeed, those differences — Cage and Eastern thought*, Babbitt and positivism, Boulez and French literature, Nono and romantic Marxism, Stockhausen and Hesse's Magister Ludi... — are the spice rack in the compositional kitc...

My counterpoint teacher in college was a Nadia Boulanger pupil and, more than once when having his students play exercises at the keyboard, would hear as the excuse for a weak performance that one hand was weaker than the other. He would, in turn, respond with a Boulanger anecdote, saying that when she heard that particular excuse she would raise both hands, palms forward to the student, and declare that, "for a musician, there was no difference between the two."   Well, then, I am a sorely deficient musician by Boulanger standards. I've recently been reminded of how profoundly right-handed I am.  A small operation on my right index finger left me almost comically disabled for the past couple of weeks.  Aside from all of the inconveniences of eating and personal hygene with my right hand continuously held high and immobile, my daily sight reading were out of the question — lacking a supply of interesting music for piano left hand and right fist; the trombone, which would ...