Seasons

Seventy-Four is one of Cage's late 'number pieces' for orchestra. In it, the each performer is given a range of time in which to start and stop playing individual notes in their part. The orchestra (of seventy-four players) is split into two groups--one half plays one part and the other half plays the other; because of the playing technique the sounds are blurred and one note merges into another before the first note has stopped sounding. The performers are permitted to microtonally bend their notes, casting a shimmering harmonic aura over the already meditative music, and evoking memories of Scelsi or 60s Ligeti, though in a more austere manner. The disc contains two performances of this work; what perhaps might surprise listeners in that they--despite the apparent randomness involved in performing the piece--really sound very similar.

The Seasons--heard here in the orchestral version rather than the alternative version for solo piano--is a ballet score from 1947, and one of the most important pieces from Cage's early period. It is charmingly written in a faux-naïf modal style similar to that of the String Quartet in Four Parts, with movements representing each of the seasons separated by brief interludes. The interlude that precedes the entire work is repeated at the end, giving a satisfying circular feel to the work. This work feels very much of a piece with a lot of the Americana of the 1930s and 1940s, though it is more restrained (Appalachian Spring it ain't). It represents a side of Cage that should perhaps be better known.

More fragmentary is the Concerto for Prepared Piano and Orchestra, written in 1950 and 1951. This uses basically the same harmonic ideas as The Seasons, but the musical design itself is much more fragmentary and radical. The first movement is slow, almost pointillistic at times, with the percussive sounds of the prepared piano alternating with the orchestral part. The second movement is more lively; again the soloist and orchestra play only separately. The finale is a key moment in Cage's career--it's the first time where he consciously used chance procedures (in this case coin-tossing and hexagrams from the I Ching) to create some of the musical material. In this movement, the soloist and orchestra do play together, but the musical material is even more fragmentary than in the opening movement. This is a fascinating work, and the performance on this disc is very strong.

The disc ends with the Suite for Toy Piano--a piece of fluffy frivolity from 1948, played both in the original version and in the rather superfluous orchestral version by Lou Harrison. This is the only piece on the disc that I don't return to.

This is an excellent disc and might serve as a good introduction to Cage for those interested in exploring the music behind the myth.

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.

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