John Cage's Concert for Piano and Orchestra

 
 
Oxford University Press
  • erschienen am 1. Mai 2020
  • |
  • 368 Seiten
 
E-Book | PDF mit Adobe DRM | Systemvoraussetzungen
978-0-19-093848-2 (ISBN)
 
John Cage's Concert for Piano and Orchestra is one of the seminal works of the second half of the twentieth century, and the centerpiece of the middle period of Cage's output. It is a culmination of Cage's work up to that point, incorporating notation techniques he had spent the past decade developing - techniques which remain radical to this day. But despite Cage's vitality to the musical development of the twentieth century, and the Concert's centrality to his career, the work is still rarely performed and even more rarely examined in detail. In this volume, Martin Iddon and Philip Thomas provide a rich and critical examination of this enormously significant piece, tracing its many contexts and influences - particularly Schoenberg, jazz, and Cage's own compositional practice - through a wide and previously untapped range of archival sources. Iddon and Thomas explain the Concert through a reading of its many histories, especially in performance - from the legendary performer disobedience and audience disorder of its 1958 New York premiere to a no less disastrous European premiere later the same year. They also highlight the importance of the piano soloist who premiered the piece, David Tudor, and its use alongside choreographer Merce Cunningham's Antic Meet. A careful examination of an apparently bewildering piece, the book explores the critical response to the Concert's performances, re-interrogates the mythology surrounding it, and finally turns to the music itself, in all its component parts, to see what it truly asks of performers and listeners.
  • Englisch
  • Oxford
  • |
  • USA
36 illustrations
  • 47,27 MB
978-0-19-093848-2 (9780190938482)
weitere Ausgaben werden ermittelt
Martin Iddon is Professor of Music and Aesthetics at the University of Leeds. His musicological research largely focuses on post-war music in Germany and the United States. He is the author of New Music at Darmstadt and John Cage and David Tudor: Correspondence on Interpretation and Performance. Philip Thomas is Professor of Performance at the University of Huddersfield. He specializes in performing experimental notated and improvised music, and is the co-editor of Changing the System: The Music of Christian Wolff.
List of figures List of tables List of abbreviations Acknowledgements Introduction Chapter 1: Situating the Concert for Piano and Orchestra Chapter 2: Sketching the Concert for Piano and Orchestra Chapter 3: Presenting the Concert for Piano and Orchestra Chapter 4: Performing the Concert for Piano and Orchestra Chapter 5: Interpreting the Concert for Piano and Orchestra Chapter 6: Interpreting the Solo for Piano Chapter 7: Understanding the Concert for Piano and Orchestra Bibliography Index

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