I don't know the specific piece, though I applaud your recollection, Hal.
The thing with the Satie, I don't know if the Young replicates this but
wouldn’t be surprised if it does, is the listener's willingness to re-engage
with each re-iteration. It really is extraordinary, to me. I can listen to
Vexations repeat for hours on end and not get bored. He's really found
something important, it seems to me. Don't know what.
P
> -----Original Message-----
> From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
> Behalf Of Halvard Johnson
> Sent: 29 November 2007 01:50
> To: [log in to unmask]
> Subject: Re: ASLSP
>
> Or try La Monte Young's "The Second Dream of the High-Tension Line
> Stepdown Transformer,"
> which I heard most of (missing the first fifteen or twenty minutes).
> Herewith a snippet from
> Chas. McCardell's review:
> "A small, select audience at the Kennedy Center Terrace Theater took a
> trip Wednesday evening without even leaving their seats. The panglobal
> music of composer La Monte Young transported them around the world in
> roughly 70 minutes without once breaking the sound barrier. ...Perfect
> intonation by all, and their ability to set up varying harmonic
> combinations, improvising within the context of Young's explicit
> directions, were what transformed a well-gauged theory into a piece
> whose purity of sound made one oblivious to temporal concerns."
>
> Charles McCardell, The Washington Post, October 18, 1985
>
>
>
> Four trumpeters, as I recall, four tones: delightful.
>
> Hal
>
> "We are in the age of nerves. The muscle hangs,
> Like a memory, in museums . . ."
> --Vicente Huidobro
>
> Halvard Johnson
> ================
> [log in to unmask]
> http://home.earthlink.net/~halvard/index.html
> http://entropyandme.blogspot.com
> http://imageswithoutwords.blogspot.com
> http://www.hamiltonstone.org
> http://home.earthlink.net/~halvard/vidalocabooks.html
>
>
> On Nov 28, 2007, at 6:54 PM, Peter Cudmore wrote:
>
> > I really think they misunderstand Cage's intent. Any fool can play
> > one note
> > per year, and pass on the game to the next generation. It's much
> > harder, I
> > think, to slow down a real-time performance to the point that you
> > have to
> > think about whether it is a contiguous performance of one thing, or
> > the
> > separation into several performances.
> >
> > That said, turning up to hear one note played has its own dynamic. I
> > wouldn't presume to say that Cage didn't intend this outcome.
> >
> > P
> >
> >> -----Original Message-----
> >> From: Poetryetc: poetry and poetics
> >> [mailto:[log in to unmask]] On
> >> Behalf Of Roger Day
> >> Sent: 28 November 2007 21:24
> >> To: [log in to unmask]
> >> Subject: ASLSP
> >>
> >> "Another of Cage's works, Organ² / ASLSP, is currently being
> >> performed
> >> near the German township of Halberstadt, in an imaginative
> >> interpretation of Cage's directions for the piece. The performance is
> >> being done on a specially-constructed autonomous organ built into the
> >> old church of St. Burchardi. It is scheduled to take a total of 639
> >> years after having been started at midnight on September 5, 2001. The
> >> first year and half of the performance was total silence, with the
> >> first chord -- G-sharp, B and G-sharp -- not sounding until February
> >> 2, 2003. Then in July 2004, two additional Es, an octave apart, were
> >> sounded and are scheduled to be sounded later this year on May 5. But
> >> at 5:00 p.m. (16:00 GMT) on Thursday, 5 January, the first chord
> >> progressed to a second -- comprising A, C and F-sharp -- and is to be
> >> held down over the next few years by weights on an organ being built
> >> especially for the project."
> >>
> >> http://en.wikipedia.org/wiki/As_Slow_As_Possible
> >>
> >> The man's a genius.
> >>
> >> Roger
> >>
> >> --
> >> My Stuff: http://www.badstep.net/
> >> "In peace, sons bury their fathers. In war, fathers bury their sons."
> >> Roman Proverb
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