JOHN CAGE+GRUPPO NUOVA CONSONANZA+KAGEL LP EXPERIMENTAL

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JOHN CAGE / KARLHEINZ STOCKHAUSEN / GRUPPO NUOVA CONSONANZA / MAURICIO KAGEL / BERND ALOIS ZIMMERMANN / LUCIANO BERIO

 ZEITGENOSSISCHE MUSIK LP

Deutsche Grammophon

with booklet 

Rare compilation on Deutsche Grammophon with pieces from Karlheinz Stockhausen, John Cage, Luciano Berio, Gruppo Nuova Consonanza, Mauricio Kagel.

Some info on the release:  Rare release from the 70's compiling pieces that appeared in various Deutsche Grammophon releases mainly in the Avant Garde series. Appearences from Karlheinz Stockhausen, John Cage, Luciano Berio, Bernd Alois Zimmermann, Gruppo Nuova Consonanza, Mauricio Kagel. Experimental electronics, improvisation, avant-garde aesthetics, highly recommended.

John Milton Cage Jr. was a pioneer of chance music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde and, in the opinion of many, the most influential American composer of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for the most part of the latter's life. Cage is perhaps best known for his 1952 composition 4?33?, the three movements of which are performed without a single note being played. A performance of 4?33? can be perceived as including the sounds of the environment that the listeners hear while it is performed, rather than merely as four minutes and thirty three seconds of silence and has become one of the most controversial compositions of the century. Another famous creation of Cage's is the prepared piano (a piano with its sound altered by placing various objects in the strings), for which he wrote numerous dance-related works and a few concert pieces, the most well-known of which is Sonatas and Interludes (1946–48).

His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various Eastern cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on chance events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Cage collaborated with David Tudor, Robert Rauschenberg, and Charles Olson at Black Mountain College where a performance took place amongst the audience. "Happenings", as set forth by Cage, are theatrical events that abandoned the traditional concept of stage-audience and occur without a sense of definite duration; instead, they are left to chance. They have a minimal script, with no plot. In fact, a "Happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and (real) life. The term "Happenings" was coined by Allan Kaprow, one of his students, who was to define it as a genre in the late fifties. In following these developments Cage was strongly influenced by Antonin Artaud’s seminal treatise The Theatre and Its Double, and the “Happenings” of this period can be viewed a forerunner to the ensuing Fluxus movement. In October of 1960, Mary Baumeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his 'Etude for Piano' cut off Cage's tie and then washed his co-performer’s hair with shampoo.

According to the Hugh Davies catalog (Repertoire international des musiques electroacoustiques), Mauricio Kagel composed 8 electroacoustic pieces in the period from 1951-1953, tried to set up an electronic music studio in Argentina, but after failure came to Europe. He has composed numerous pieces for tape, electronic and public sounds, electronic and handmade instruments, loudspeakers, sound generators, amplifiers, 22 or 33 or 44 silent performers or chairs. You can find him listed in Unesco's cultural heritage assets.

The composers on this record belong to the great avant-garde/experimental composers "wave" that appeared in Europe in the 60's/70's/80's with main representators composers like Hans Werner Henze, Pierre Boulez, György Kurtág, Wolfgang Rihm, Helmut Lachenmann and Salvatore Sciarrino, Heinz Holliger, Brian Ferneyhough, and Nicolaus A. Huber, György Ligeti and Bruno Maderna, Henri Pousseur or more widely Toru Takemitsu, Bruno Maderna, Jani Christou, Iannis Xenakis and of course Pendercki.

Condition: Vinyl lies in mint- condition, looks and plays perfectly, while cover lies in very good++ condition, would be near mint if it didn't have a tiny split at the top (look picture).

Tracklist

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