CDN$ 44.29 + CDN$ 3.49 shipping
Only 1 left in stock. Sold by inandout_canada

Compare Offers on Amazon
Add to Cart
CDN$ 60.05
+ CDN$ 3.49 shipping
Sold by: USA_Seller_4_Canada
Add to Cart
CDN$ 111.15
+ CDN$ 3.49 shipping
Sold by: IMG store
Have one to sell? Sell on Amazon

Three Twenty-Eight [Import]

Price: CDN$ 44.29
Only 1 left in stock.
Ships from and sold by inandout_canada.
4 new from CDN$ 44.29

Product Details

  • Format: Classical, NTSC, Import
  • Number of discs: 1
  • Studio: CD Baby
  • Release Date: June 17 2008
  • Average Customer Review: Be the first to review this item
  • ASIN: B001582D06
  •  Would you like to update product info, give feedback on images, or tell us about a lower price?

Customer Reviews

There are no customer reviews yet on
5 star
4 star
3 star
2 star
1 star

Most Helpful Customer Reviews on (beta) HASH(0x968c3378) out of 5 stars 10 reviews
4 of 4 people found the following review helpful
HASH(0x96bfce28) out of 5 stars Rarely heard Cage works, beautiful performances. Jan. 2 2014
By PappaWildcat - Published on
Format: DVD Audio
Late in his life John Cage embarked on a series of so-called "Number Pieces" for various solo instruments and ensemble combinations. (Each piece is titled with two numbers, the second of which is Arabic, such as One3; in this case, the title means that this is Cage's third work for a solo performer in his number-piece series.) What these pieces have in common is a construction by which sound events occur within flexible "time brackets" within which a sound is to begin and end. What they also have in common, at least among the ones I've heard so far, is a sense of stillness and tranquility that is quite beautiful. This DVD does not disappoint.

Three (1989) calls for a variety of unspecified high- and low-pitched instruments; the rendition here by Susanna Borsch is for three recorders. The dynamics are mostly quiet, and the recorders are very pure in tone. At times you might be fooled into thinking this is electronic music, such is the purity of sound. I found this piece to be especially interesting to pop into the computer as I was working--it kept my attention refreshed and engaged.

Twenty-Eight (1991) is a work for winds that may be combined with two other number pieces--Twenty-Six and Twenty-Nine (both 1991)--to create a work for a kind of variable orchestra. Surprisingly, given the number of performers and variety of instruments, the effect of Twenty-Eight is remarkably similar to the quietude of Three. Tones float in and out of the silences, catching our attention as they pass by. Early in Cage's writings he referred to "letting sounds be themselves," and that perfectly describes what happens on this recording. The musicians of the Prague Winds treat these pieces with seriousness of purpose that is refreshing, given the ridicule Cage had to endure from orchestra musicians for most of his career.

This is probably not the place to start if you are new to Cage's art--there are much better-known pieces, such as the Sonatas and Interludes for Prepared Piano, that are probably a better entry point. But--if you are already entranced by Cage's sound world, this is an indispensable purchase, revealing still more of the many facets of Cage's genius. Get it right now.
3 of 3 people found the following review helpful
HASH(0x96bfce7c) out of 5 stars John Cage by the Numbers Feb. 12 2014
By Michael Bettine - Published on
Format: DVD Audio
John Cage is an enigma in American music. He is arguably the greatest 20th century composer/artist/philosopher, who had a wide ranging influence on the arts. He is also extremely misunderstood, often regarded as some sort of charlatan who tried to bamboozle the public with crazy ideas about music, including writing music with no music (4'33"). But if you delve beneath the surface, you'll find a man who dared to question the music and arts around him. He saw no point in repeating what had already been done, and looked for new ways of expression.

In his later life, he composed a series called "The Number Pieces." The title of each composition refers to how many performers, with a possible second number referring to where it sits in compositional order. Thus, One4 is the fourth composition written for one performer.

First up on this disc (a DVD-A, allowing for a 2-hour length) is 'Three.' Written for 3 performers playing a variety of recorders, it's a very slow moving and open piece. The mostly long held notes move in and out, leaving ample room for silence. The wooden character of the recorders adds to this often sounding like a pipe organ. There are 11 sections, the first (1.) at 6:45, the last (2.) at 3:39, with the rest (A. - I.) each at 3 minutes. Cage's instructions are, "one or any number of these may be played between 1. and 2." What this piece begs for is to be ripped off the DVD-A so that you can put it in shuffle mode in iTunes and hear it with the randomness Cage so loved. Susanna Borsch ably multi-tracks the three recorder parts on each piece.

'Twenty-Eight' is for a small wind orchestra. Each instrument plays time bracketed single notes. There is no conductor, with the performers moving in and out of the music seemingly at random. The next track, 'Twenty-Six (for 26 violins) with Twenty-Eight' combines to form, 'Fifty-Four.' The added strings create a much denser soundfield, and add an often ominous tone. The final track is 'Twenty-Eight with Twenty-Nine.' This time the added instruments are percussion, bowed piano, and low register strings. As can be expected, the sound is darker. Even the percussion is very legato, with no startling 'hits' to break the mood. Cage designed the pieces to be played individually, or in various combinations. Thus we get 3 different versions of 'Twenty-Eight.' All three tracks are 28/29 minutes in length.

The music on this disc is very reminiscent of later period Morton Feldman, in that it has that static quality about it--the music unfolds at an unhurried pace, all the while seeming not to be moving at all. If you are looking for thunderous orchestrations, look elsewhere. But if you are into contemplative sounds that unfold over time, this should be to your liking. Highly recommended.

~ MB
4 of 4 people found the following review helpful
HASH(0x96c732d0) out of 5 stars continue this work ! Sept. 18 2008
By Le Gall Pascal - Published on
Format: DVD Audio
The John Cage's number pieces are one of the most important musical compositions of the XXth century. But nobody (and specially in Europe !) knows them. This work (recording number pieces) is a great work for the Music. Wonderful !
2 of 2 people found the following review helpful
HASH(0x96c73690) out of 5 stars A quiet before a beautiful storm of partials April 4 2014
By Jeff Jones - Published on
Format: DVD Audio
I have been an admirer of John Cage's music for about 30 years and a fan of the Number pieces for some time. For some who might not know here's a tidbit from Wikipedia "The term Number Pieces refers to a body of late compositions by John Cage. Each piece is named after the number of performers involved: for instance, Seven is a piece for seven performers, One 9 (read "One Nine") is the ninth work for one performer, and 1O1 is a piece for an orchestra of 101 musicians. The vast majority of these works were composed using Cage's time bracket technique: the score consists of short fragments (frequently just one note, with or without dynamics) and indications, in minutes and seconds, of when the fragment should start and when it should end. Time brackets can be fixed (e.g. from 1.15 to 2.00) or flexible (e.g. from anywhere between 1.15 and 1.45, and to anywhere from 2.00 to 2.30).

All of the Number Pieces were composed during the last six years of Cage's life, 1987-1992. Most are for traditional instruments, with six exceptions that range from works for the Japanese aerophone shō and conch shells to an electronically amplified version of 4′33″. "

First off the recording quality of these recordings are pretty staggering, really just beautiful. You might want to watch the volume control on your system, these sounded like the players where in the room with me. The first 11 tracks are renditions of "Three" (1988) all three minutes in length and are really quite peaceful played on recorder, "the score calls for a variety of high and low pitches". Very haunting, to me, kind of a quiet before a beautiful storm of partials. Then, here they come "Twenty -Eight" (1991) (28 minutes), then Twenty Eight -Six with Twenty Eight (1991) and ending with Twenty Eight with Twenty Nine (1991). All three of these pieces where played and sounded beautifully, I wont even try to describe the excitement I had listening to these, I'll leave that up to the listener, but it was a whirlwind. I have never heard any of the Number pieces in Audio DVD format before and to be honest I'm very glad I did, very powerful. OgreOgress productions and the players should be commended on releasing these recordings, along with there list of other John Cage "First" recordings. Quite stunning in there powerful subtle beauty.

This is the first review I've ever been compelled to write, so please be gentle. I wish I could give more than five stars on this, a great experience for fans of John Cage and his number pieces and for listeners who want to experience a way of beauty they've might not have heard before.
1 of 1 people found the following review helpful
HASH(0x96c73774) out of 5 stars Three is wonderful: the listener really hears the recorder as it ... July 10 2014
By violamom - Published on
Format: DVD Audio
Three is wonderful: the listener really hears the recorder as it is with it's full, open quality. It is enjoyable to hear "chords" creating contrast throughout the work. John Cage's exploration with silence and the various qualities of an instrument is a good experience for both an audience and a performer. I've been lucky enough to have been given the opportunity to be both with this dvd and by performing a large orchestral work by John Cage.

I like it that Twenty-Eight is presented both alone and with Twenty-Six and finally Twenty-Nine. During Twenty-Eight the silences and accidental harmonies are presented. When Twenty-Six is added, the listening experience is more full given that more options are created by the violin's presence. Twenty-Eight and Twenty-Nine together give the listener a complete experience with winds, strings and percussion.

Look for similar items by category