Wergo
Scelsi, g. / Liebner, sabine - John Cage: Solo for Piano - Import CD
Scelsi, g. / Liebner, sabine - John Cage: Solo for Piano - Import CD
CD
Classical Music
6 febbraio 2014
Will usually ship within 1~5 business days of receiving cleared payment.
Impossibile caricare la disponibilità di ritiro
Catalog No.: WER6768
JAN/ISBN: 4010228676822
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Scelsi, g. / Liebner, sabine
Description:
Cage’s World of Silence: Solo for Piano This “Solo for Piano” refers to the piano part of Cage’s “Concerto for Piano and Orchestra” (composed 1957–58). It features an interplay of various sounds, including those produced by simply pressing the keys, the timbres of internal playing techniques, and the sound of the piano strings being rubbed. Leipner is a specialist in contemporary music who has recorded Cage’s “Etude for the South” (WER6740) and Earl Brown’s “Abstract Sound Object” (WER6745). Here, too, he masterfully brings Cage’s enigmatic score to life! Cage’s aim was to create “non-subjective sounds”—sounds that were devoid of any direction, meaning, color, memory, or tradition. In the 1950s, he sought to achieve this sound primarily through two techniques. First was “chance.” He composed by incorporating elements calculated based on the Chinese I Ching, effectively embedding elements of uncertainty into the compositional process. Then, in the late 1950s, rather than notating what had been determined based on the I Ching, he began to introduce uncertainty into the score itself, leaving it up to the performer to ensure that “chance operations” took shape for the first time during the performance, rather than being dictated by the notes or the score. One of the early works created in this style is the “Concerto for Piano and Orchestra,” written in 1957–58; the piano part of this concerto has been adapted into a standalone piece titled “Solo for Piano.” It consists of 84 different types of graphic scores on 63 pages. At first glance, this score appears to be a traditional musical score, but it does not specify actual pitch or rhythm; rather, it serves as a sort of “suggestion” to the performer. Leipner skillfully incorporates internal playing techniques while developing Cage’s sonic world. Although this work is not originally divided into movements, it has been split into seven tracks to make it easier for listeners to appreciate the piece. King International
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