I remember when I spent some time at a monastery in Northern California. Standing on a bluff, sweating, hearing wind and branches, and then, almost shockingly, the comforting sound of an ocean in my ears: my heart beating...
…a hawk screeching over the pines while soaring in the valley below.
From: Yahoo! Inc© [mailto:firstname.lastname@example.org]
Sent: Tuesday, April 1, 2014 9:41 AM
Subject: Re: 4'33" by John Cage
And, as I'm sure you know, Rick. Cage was a Zen Buddhist--Form is Emptiness, Emptiness is Form. The real crux of the issue of 4'33" for me is you can only truly pull it off once. So, that any thing else is derivative --like the Santa Cruz version. The only real place it works is in our own hearts, minds, and ears.
> Date: Fri, 28 Mar 2014 03:42:54 -0700
> From: email@example.com
> To: Loopers-Delight@loopers-delight.com
> Subject: 4'33" by John Cage
> On 3/27/2014 6:44 PM, Loopers-Delightfirstname.lastname@example.org wrote:
> > 0'00" by John Cage.
> Just for historical accuracy, I believe you are referring to the
> compostion, 4'33" bt Cage.
> Many people, parenthetically, don't understand what he was attempting
> in that piece.
> Because it is in three movements, when it was debuted, the audience
> kept anticipating that something
> would happen.
> when nothing happened, Cage's point was that all of the sounds made by
> people shifting uncomfortably
> in their seat; their coughs, exits and entrances became the only audible
> sound (which was random- something
> Cage was absolutely fascinated by) and 'were' the music of the piece.
> The piece had nothing to do with the pianist sitting, silently, in front
> of the $150,000 grand piano.
> It was the 'noise' created by the audience...................and in most
> cases, originally, it was the noise
> of a disturbed and expectant audience.
> In modern performances it always is a little disappointing that the
> audience, now, usually laughs
> with their discomfort.
> I saw it performed in Santa Cruz once with a pianist in tails performing
> on a grand toy piano
> which caused a lot of laughter from the audience.
> I thought the conductor didn't truly 'get' the piece when I saw that and
> seemed to be going for the
> lowest common denominator.
> If you haven't read it, Cage wrote a brilliant book about music called
> I cant' recommend it more highly for anyone intrigued by the philosophy
> of music _expression_.