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Seasons
 
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Seasons

John Cage Audio CD
3.8 out of 5 stars  See all reviews (5 customer reviews)

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Product Details


1. Seventy-Four For Orchestra - Version I
2. The Seasons: Prelude I, Winter
3. The Seasons: Prelude II, Spring
4. The Seasons: Prelude III, Summer
5. The Seasons: Prelude IV, Fall
6. Concerto For Prepared Piano And Orchestra: First Part
7. Concerto For Prepared Piano And Orchestra: Second Part
8. Concerto For Prepared Piano And Orchestra: Third Part
9. Seventy-Four For Orchestra - Version II
10. Suite For Toy Piano: I
11. Suite For Toy Piano: II
12. Suite For Toy Piano: III
13. Suite For Toy Piano: IV
14. Suite For Toy Piano: V
15. Suite For Toy Piano (Orchestration: Lou Harrison): I
16. Suite For Toy Piano (Orchestration: Lou Harrison): II
17. Suite For Toy Piano (Orchestration: Lou Harrison): III
18. Suite For Toy Piano (Orchestration: Lou Harrison): IV
19. Suite For Toy Piano (Orchestration: Lou Harrison): V

Product Description

From Amazon.com

This astonishing disc is possibly the best collection of John Cage's music now on the market. It covers the gamut of Cage's radicalism as well as his humor, and as such there is something for everyone (newbies included). Of particular delight here is Suite for Toy Piano (1948), which employs only the white keys in a single octave, and the beautifully orchestrated version that follows (done by Lou Harrison, a friend of Cage, in 1963). But three of Cage's absolute masterpieces--each totally different from the other--are also here: the eerie Seventy-Four (1992), the ballet score for The Seasons (1947) and the riveting Concerto for Prepared Piano and Chamber Orchestra (1950-51). Everything you need to know about John Cage is right here. --Paul Cook

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Customer Reviews

5 Reviews
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Average Customer Review
3.8 out of 5 stars (5 customer reviews)
 
 
 
 
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5.0 out of 5 stars The Absolute Best of Cage!, Mar 18 2003
By 
Christopher Forbes "weirdears" (Brooklyn,, NY) - See all my reviews
(REAL NAME)   
This review is from: Seasons (Audio CD)
I have been recently revisiting the work of John Cage, from the early experiments with timbre and rhythm, through his aleatoric period and beyond. While at one time I would have dismissed him as a poser...or a philosopher at best, now I am more and more convinced of his singular genius. This genius is beautifully represented on this amazing CD with Magaret Leng Tan and Denniss Russell Davis. Nearly every phrase in the composer's career is represented.

The earliest music on the disc is the ballet score for The Seasons. This is an amazing work...it almost sounds like one of the Sonatas and Interludes orchestrated. Cage has moments of almost Stravinskian clarity, oriental filligree and yet the work is dominated most by beautifully proportioned juxtapositions of sound blocks. It is a haunting and mesmerizing work. As is the suite for Toy piano, presented both in it's original form and orchestrated by Lou Harrison. Cage manages to create a lush and elaborate rhythmic scheme out of very limited means.

The Concerto show Cage moving into his next phase of work. The language is more abstract and dissonant...almost like Webern. In fact, this is a transition work into Cage's later aleatoric style. The third movement contains some of Cage's first forays into chance procedures. The result it intensely colorful, dramatic, and fascinating.

The two other pieces on the disc are two realizations of 73, one of Cage's computer generated number pieces, which dominated the last few years of his life. 73 refers to the number of instrumentalists in the piece. There is not score to the work. Each instrumentalist is given a series of notated events and a time frame for the events. Timbre, effects, and timing are left up to the performer to some extent. 73 is particularly interesting in that there are only two series of events split between orchestra members...one series for higher instruments and one for lower instruments. The result is a work which slowly evolves from droning note to droning note...almost resembling the late work of Nono or Scelsi. Both versions of the piece are hypnotic.

Margaret Leng Tan is a marvelous pianist, particularly in contemporary repertoire. And Russell Davies conducts with clarity and an ear for balance. If you've been afraid of Cage, this is the disc to get. The sound world is marvelous.

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5.0 out of 5 stars whatever happens next , happens next, Dec 10 2001
By 
This review is from: Seasons (Audio CD)
For John Cage, an orchestra was an assembly of musicians playing traditional sound-making instruments, not the grand ensemble required by Mahler to produce waves of well-tempered orchestrations, & Cage conceptualized accordingly. So while the Concerto may seem not quite a concerto, the clusters, open spaces, punctuations, prepared piano sounds do indeed showcase the performers concerto-style. The composition also achieves a sense of motionless that is kin to Satie. The Suite for Toy Piano makes an even stronger connection to the Sage of Arceuil.

This is a superb collection. Margaret Leng Tang brings just the right combination of committment, detachment & wit to the music. Dennis Russell Davies stays out of the way as much as he can, allowing whatever happens next to happen next. The players are enjoying themselves - Cage's scores are realized well only when everyone cooperates and has a good time. You will, too.

Bob Rixon

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1.0 out of 5 stars Cage at his worst, Oct 4 2001
By A Customer
This review is from: Seasons (Audio CD)
This is a collection of bad pieces by a great composer, for those who like his bad pieces. Most of Cage's work before "Music of Changes" is just cross-over entertainment (with some "exceptional exceptions"), and just for this reason it has a good selling potential today. With exception of "Seventy-four" all the pieces in this CD come from this period (the "Concerto for Prepared Piano" is a transition work). I see Cage basically as a composer of solo keyboard or chamber music, and this CD shows irrefutably that he could not handle an orchestra. "The Seasons" is much better in the original keyboard version, and "Seventy-four" could as well be played by the audience - that would be a great experiment! The "Suite for Toy Piano" is good enough as a satire and the author recommended that it should be played on a toy piano, or on a ordinary instrument - as I see (listen to) it orchestrating such a piece is rather an insult than a homage to the composer. I really did not like this CD. Don't buy it! Have another Cage instead, like "Music of Changes" played by Herbert Henck (WERGO), or Joan LaBarbera's beautiful "Singing Through John Cage" (New Albion).
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