{"id":3292,"date":"2007-05-15T15:31:24","date_gmt":"2007-05-15T15:31:24","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3292"},"modified":"2023-05-22T22:58:36","modified_gmt":"2023-05-22T22:58:36","slug":"john-cage-music-for-piano-1-84","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/john-cage-music-for-piano-1-84\/","title":{"rendered":"John Cage: Music for Piano 1\u201384"},"content":{"rendered":"

Infotext:<\/p>\n\n\n\n
\n
\n

Indem\u00a0John Cage<\/a>\u00a0den Blick \u00fcber unbeschriebenes, wei\u00dfes Papier wandern lie\u00df \u2013 1952, im selben Jahr, als auch das St\u00fcck \u201e4’33\u201d entstand und er damit die Erkenntnis bef\u00f6rderte, dass es keine Stille geben kann, die nicht klangtr\u00e4chtig sei \u2013 entdeckte Cage eine seiner radikalsten L\u00f6sungen: \u201ePl\u00f6tzlich sah ich, dass die Noten, alle Noten, bereits da standen\u201d. Damit war die Grundidee f\u00fcr die vielteilige Reihe der \u201eMusic for Piano\u201d gefunden.<\/p>\n

Cage hatte kleine Unregelm\u00e4\u00dfigkeiten, Erhebungen oder winzige Flecken auf der Oberfl\u00e4chenstruktur des Papierbogens entdeckt, vollkommen regellos verteilt. Innerhalb eines vorgew\u00e4hlten Zeitintervalls markierte er nun mit Tinte so viele dieser Unregelm\u00e4\u00dfigkeiten, wie er erkennen konnte. Er erhielt so die absolut zuf\u00e4llige Konstellation eines Punktefeldes. Dar\u00fcber legte er dann ein transparentes Notenpapier, um die Punkte vermittels Schl\u00fcsselung und Hilfslinien als exakte Tonh\u00f6hen zu bestimmen. Per Zufallsverfahren wurde jedem der so gefundenen T\u00f6ne schlie\u00dflich ein dynamischer Wert zwischen Pianissimo und Fortissimo sowie gegebenenfalls ein Vorzeichen zugeordnet.<\/p>\n

Auf diese Weise entstand 1952 die \u201eMusic for Piano 1\u201d zu einer Choreographie von Jo Anne Melcher und Jahrs darauf f\u00fcr die T\u00e4nzerin Louise Lippold die \u201eMusic for Piano 2\u201d.<\/p>\n

Im Ausgleich zu seinem unabl\u00e4ssigen k\u00fcnstlerischen Bem\u00fchen, Zufall immer wieder neu dingfest zu machen an den Koinzidenz- und Kreuzungspunkten unabh\u00e4ngig von einander verlaufender Ereignisreihen, begann er 1954\/55 verst\u00e4rkt im Universum der Mykologie heimisch zu werden. Vielleicht, dass eine weitere Metaphysik des Findens ihn umtrieb? Wo immer er Gelegenheit hatte, Pilze zu suchen und zu bestimmen, ging Cage dieser Leidenschaft fortan mit professionellem Tiefgang nach \u2013 auch, und darauf wies er l\u00e4chelnd hin, weil die W\u00f6rter \u201emushroom\u201d f\u00fcr Pilz und \u201emusic\u201d f\u00fcr Musik in vielen Lexika gleich aufeinander folgen.<\/p>\n

Mit den Jahren wurde er zu einem Pilzexperten. Er verfasste ein Pilzbuch mit Illustrationen bedeckt von japanischem Seidenpapier. In einem italienischen Fernseh-Quiz gewann er mit seinem Fachwissen viel Geld. Er meditierte \u00fcber das mysteri\u00f6se unterirdische Wachstum der Myzelien, Flechten und Fruchtk\u00f6rper in japanischen Zen-G\u00e4rten oder amerikanischen W\u00e4ldern, konnte schw\u00e4rmen und sich einf\u00fchlen in die Horizonte aus Klang und Stille dieses oder jenes Pilzes, der \u201eeinzeln w\u00e4chst oder in Ansammlungen, gelegentlich auch in B\u00fcscheln zu je f\u00fcnf bis sechs Einzelgew\u00e4chsen. Solch ein Flecken Erde ist kostbar\u2026\u201d<\/p>\n

Im Rahmen des riesigen Oeuvres von John Cage bilden die insgesamt 84 Solo-St\u00fccke der \u201eMusic for Piano\u201d eines der Schl\u00fcsselwerke aus der mittleren Schaffensperiode.<\/p>\n

Mit\u00a0Sabine Liebner<\/a>\u00a0haben wir eine kongeniale Interpretin f\u00fcr diese Musik gefunden. Ihr besonderes Interesse gilt den amerikanischen Komponisten des 20. Jahrhunderts. Ihr\u00a0 Repertoire amerikanischer Musik umfasst Werke von Henry Cowell, Earle Brown, Christian Wolff, Pauline Oliveros, Tom Johnson, sie spielt nahezu alle Kompositionen f\u00fcr Klavier von John Cage und Morton Feldman. 1998 und 2007\u00a0erhielt sie jeweils den F\u00f6rderpreis f\u00fcr Musik der Stadt M\u00fcnchen, 2005 ein Stipendium f\u00fcr Musik der Stadt M\u00fcnchen, 2007 wurde sie zur vom Goethe-Institut empfohlenen deutschen Pianistin gew\u00e4hlt.<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Programm:<\/p>\n

CD 1<\/b><\/p>\n

[01] 03:39\u00a0Music for Piano 1<\/b>\u00a0(1952)
\n[02] 04:29\u00a0Music for Piano 2<\/b>\u00a0(1953)
\n<\/span><\/p>\n

[03] 01:30\u00a0Music for Piano 3<\/b>\u00a0(1953)
\n[04] 17:20\u00a0Music for Piano 4\u201319<\/b>\u00a0(1953)
\n[05] 02:16\u00a0Music for Piano 20<\/b>\u00a0(1953)
\n[06] 31:01\u00a0Music for Piano 21\u201336<\/b>\u00a0(1955)<\/p>\n

gesamt: 60:34<\/b><\/p>\n

<\/b><\/p>\n

CD 2<\/b><\/p>\n

[01] 21:09\u00a0Music for Piano 37\u201352<\/b>\u00a0(1955)
\n[02] 16:29\u00a0Music for Piano 53\u201368<\/b>\u00a0(1956)
\n<\/span><\/p>\n

[03] 16:01\u00a0Music for Piano 69\u201384<\/b>\u00a0(1956)<\/p>\n

gesamt: 53:50<\/b><\/p>\n

 <\/p>\n

Sabine Liebner<\/a>, Klavier<\/p>\n

Pressestimmen:<\/p>\n

\"\"
\n<\/b>01.01.2008<\/p>\n

\"\"<\/p>\n

Una soberbia divisi\u00f3n de los planos sonoros, de un extraordinario efecto de espacializaci\u00f3n. El resultado es deslumbrante.<\/b><\/p>\n

<\/b><\/p>\n

\"\"
\n<\/b>24.01.2008<\/p>\n

Sabine Liebner: CAGE Music for Piano 1\u201384 on NEOS
\n<\/b><\/p>\n

This is essential Cage, and Sabine Liebner has created a magical performance of it. The term \u201ccreated\u201d is not used lightly here. Music for Piano , composed between 1952 and 1956, consists of 84 brief pieces for unmodified (i.e., not prepared) piano. These are based on a scheme of composition that presents a performer with, minimally, all of the notes to be played. How, and exactly when, these notes should be played in any given performance, is left indeterminate in specific ways that vary among the pieces. For example, No. 1 of the series consists of conventionally notated whole notes, which have been assigned specific dynamics and accidentals by the composer. There are no bar lines; the individual notes are to be played as encountered in a uniform time flow. A preface lays down rules for performance in Cage\u2019s neat capital letters: \u201cDURATIONS FREE. PEDALLING FREE. MANNER OF PRODUCING PIANO SOUNDS FREE, INCLUDING PIZZ STRING, SCRATCHING AND MUTING STRINGS, PRODUCTION OF HARMONICS, ETC.\u201d<\/p>\n

Whew! What is a performer to do? The notes accompanying this release suggest what is required: \u201cA valid interpretation can . . . only be achieved by a player who has a fine sense of the integrity and secret life of the individual sound event, who has an unerring sense for proportions in pitch space that are non causal with respect to time . . . . His or her playing should be precise and should pay attention to the balancing of indifferent beauties.\u201d<\/p>\n

Those of us who first heard this music played by John Cage and David Tudor, who surely epitomized these very qualities, were struck by the way they made the integrity and cold beauty of this music seem somehow inevitable. That is just what Liebner does here. In Fanfare 29:3, Art Lange reviewed her performance of Morton Feldman\u2019s Triadic Memories , another colossal work amenable to a rich variety of interpretive approaches. He observed that \u201cLiebner suggests a view towards infinity, the kind of mythic resonance projected in Mark Rothko\u2019s paintings.\u201d Music for Piano has nothing to do with Rothko. (Cage \u201cdiscovered\u201d the actual notes of Music for Piano by circling the imperfections he found on blank sheets of paper.) But here too, Liebner has created a performance suffused with \u201cmythic resonance.\u201d<\/p>\n

There are no beginnings, middles or ends, no chords, no tempos. Much of the music consists of silences (sometimes very long ones), which are broken by the appearance, always anticipated, always unexpected, of a single note, or a sudden cluster of them, each with a life of its own. In Liebner\u2019s hands, the different voices of the piano, invoked from inside the piano or keyboard, at times evoke the illusion of an ensemble whose members are engaging in momentary dialogues or counterpoints with each other. It is simultaneously riveting and peaceful. The subtlety and range of the timbres Liebner summons from the instrument are well nigh inexhaustible, but entirely natural; the music remains always itself. You can\u2019t (or at least I can\u2019t) hear the ending of one piece and the beginning of the next. Such things are just another source of silences (and not necessarily the longest ones).<\/p>\n

Over the nearly two-hour span of this music, you can find yourself at some points intensely\u2014electrically\u2014involved, at other times wandering around the house or outside, listening to how the music changes as you change perspective, or listening to how other sounds in the environment interact with the music. It will never sound exactly the same, or be experienced exactly the same, twice. It is not music that compels you to react to it in a specific way, but rather invites you to wander through it in ways that will change on each hearing.<\/p>\n

Cage sought new ways of composing, performing, and hearing music in all his many works of indeterminacy, of which this is one of the first. How he did this is the subject of many fascinating anecdotes and philosophical discussions, with the consequence that the point of it all\u2014the music itself\u2014can sometimes get lost in the Zen. Liebner gives us a performance that reminds us how compelling this music actually can be. The recording is superb.<\/p>\n

I have yet to hear other recorded performances of this particular work, which intrinsically can have no \u201cbest\u201d or \u201cdefinitive\u201d realization. Another complete traversal is on Volume 2 of Steffen Schleirmacher\u2019s complete traversal of Cage\u2019s piano music. Art Lange reviewed this in Fanfare 22:2. All of Music for Piano is on it, including a final piece from 1962, No. 85, which departs from the earlier ones by introducing electronics into the mix. Several other pianists have tackled at least portions of the series. They will all \u201csound\u201d completely different, of course. Cage wanted both performers and listeners to explore ways this music can be experienced. Sabine Liebner\u2019s splendid performance (coupled with a timely Amazon gift certificate) has kindled a strong desire on my part to do so. It may well have the same effect on you. In any event, don\u2019t miss this one.<\/p>\n

Peter Stokely<\/p>\n

\"\"
\n11\/12.2007<\/p>\n

\"\"
\n\"\"
\n11.2007<\/p>\n

Review by Uncle Dave Lewis<\/p>\n

John Cage: Music for Piano 1-84 (or 85, if you count an appended piece for piano and electronics not composed until 1962; the main work dates from 1952-1956) is a cycle of piano pieces closely related to his Music of Changes (1951). The main difference, if one cares to observe it, is in terms of instrumentation — Music for Piano 4-19 and 21-84 are scored for „piano, or any number of pianos.“ Pianist Sabine Liebner opts to perform this unwieldy, two-hour-long cycle on solo piano in German label NEOS‘ ambitious John Cage: Music for Piano 1-84.<\/p>\n

Like Music of Changes, the 84 pieces in the cycle, ranging from the longest (Music for Piano 2 at four and a half minutes) to many tiny miniatures only a few seconds long, were composed through chance procedures. Amplification of imperfections in the music paper Cage was writing on was the main method of determining pitch; duration, dynamics, and other parameters were arrived at through a mixture of other methods, coin tosses and the use of playing cards, yarrow sticks, and so forth. Cage was consciously attempting to bring into the world music that, as much as possible, generated itself without his intervention, and just like everything else he tried, the result sounds just like — John Cage.<\/p>\n

Playing such music is a lot more difficult than it sounds on the other end. With his earliest chance derived compositions, such as Music for Piano 1 here, Cage discovered that his process was very work intensive and yielded results that were denser than what he most likely desired; these pieces were intended for use in dance performances, where a certain amount of negative space was desirable. By adding silence into the mix, Cage achieved the lightness of texture that he wanted. This calls for extreme concentration on the part of the performer; you have to be patient enough to wait out the long silences Cage calls for and put the right note in the right place in a texture in which predictable patterns are completely absent. In this respect, Liebner does an admirable job in this set and she plays close attention to the widely ranging dynamics in this long work, most often assigned to single pitches, rather than passages. NEOS‘ close, nicely atmospheric recording captures Liebner’s playing in its essence without extraneous noises in music often so quiet that the breathing of the pianist would be in danger of showing up in the finished product.<\/p>\n

None of this, of course, answers the essential question, should you listen? Absolutely. Once you are past the uncharacteristically dense Music for Piano 1, the music opens up into its regular, spatial realm and this unobtrusive, graceful, and surprisingly pianistic music can make for a great accompaniment to late-night reading or any other instance where one wants music that fills a space, but does not take over.<\/p>\n

\"\"
\n08.2007<\/p>\n

\"\"<\/p>\n

T\u00e9l\u00e9rama<\/b>\u00a029. August 2007<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

 <\/p>\n

La Vanguardia<\/b>\u00a014. November 2007<\/p>\n

\"\"<\/p>\n

Auszeichnungen & Erw\u00e4hnungen:<\/p>\n

\"\"
\n01.01.2008<\/p>\n

\"\"<\/b><\/p>\n

Una soberbia divisi\u00f3n de los planos sonoros, de un extraordinario efecto de espacializaci\u00f3n. El resultado es deslumbrante.<\/b><\/p>\n

 <\/p>\n

\"\"
\nT\u00e9l\u00e9rama<\/b><\/p>\n

29. August 2007
\n\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: Indem\u00a0John Cage\u00a0den Blick \u00fcber unbeschriebenes, wei\u00dfes Papier wandern lie\u00df \u2013 1952, im selben Jahr, als auch das St\u00fcck \u201e4’33\u201d entstand und er damit die Erkenntnis bef\u00f6rderte, dass es keine Stille geben kann, die nicht klangtr\u00e4chtig sei \u2013 entdeckte Cage eine seiner radikalsten L\u00f6sungen: \u201ePl\u00f6tzlich sah ich, dass die Noten, alle Noten, bereits da standen\u201d. […]<\/p>\n","protected":false},"featured_media":3293,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[882,26],"product_tag":[],"class_list":{"0":"post-3292","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-klavier","7":"product_cat-zeitgenossische-musik","8":"pa_artikelnummer-neos-10703-04","9":"pa_brand-neos-music","10":"pa_ean-832","11":"desktop-align-left","12":"tablet-align-left","13":"mobile-align-left","15":"first","16":"instock","17":"taxable","18":"shipping-taxable","19":"purchasable","20":"product-type-simple"},"yoast_head":"\nJohn Cage: Music for Piano 1\u201384 - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/john-cage-music-for-piano-1-84\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"John Cage: Music for Piano 1\u201384 - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Indem\u00a0John Cage\u00a0den Blick \u00fcber unbeschriebenes, wei\u00dfes Papier wandern lie\u00df \u2013 1952, im selben Jahr, als auch das St\u00fcck \u201e4’33\u201d entstand und er damit die Erkenntnis bef\u00f6rderte, dass es keine Stille geben kann, die nicht klangtr\u00e4chtig sei \u2013 entdeckte Cage eine seiner radikalsten L\u00f6sungen: \u201ePl\u00f6tzlich sah ich, dass die Noten, alle Noten, bereits da standen\u201d. 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