It is with great pleasure that I announce that the new CD of my realization
of the Charles Ives "Universe Symphony" has been manufactured with 32 pages of
liner notes in color.  I believe one listen will make more of a difference
than anything that can be said on the list.

My wish had been to supply a book with a finished score to go out with the CD
but they remain unpublished.

To David, I could only hope that you open your mind up to different
possibilities that those you saw in the last century (which admittedly, isn't
that long
ago).  There is plenty of new information.  Simply send me your address
off-list.

This long march to release (on July 4th) is almost over.  I would love to see
reviews -- of all kinds -- here on the list.  For discovering reasons "why"
something was done, the unpublished book is recommended.  The production and
performance of this enchanted material will be a real rush.

best, Johnny Reinhard


[Non-text portions of this message have been removed]

At 08:30 AM 7/1/2005, you wrote:

>It is with great pleasure that I announce that the new CD of my realization
>of the Charles Ives "Universe Symphony" has been manufactured with 32
>pages of
>liner notes in color.  I believe one listen will make more of a difference
>than anything that can be said on the list.


Does not appear at:

http://www.stereosociety.com/albums.html

How does one order it?


--
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.323 / Virus Database: 267.8.8/35 - Release Date: 6/30/2005

In a message dated 7/1/2005 11:41:00 AM Eastern Standard Time, ghal@...
writes:
Does not appear at:

http://www.stereosociety.com/albums.html

How does one order it?
The release date is July 4th, a national holiday.  I had nothing to do with
the marketing timelines. ;)

I am sure that by Monday, or Tuesday at the latest, it will be possible to
purchase a CD from The Stereo Society website.  In the meantime, please enjoy
the material on the site if you haven't visited already.

And, may I let everyone know that my summer plans changed and I am to remain
in Manhattan, if there is any interest for a more extended communication.  I
do have advance copies of the CDs.

all best, Johnny Reinhard


[Non-text portions of this message have been removed]

--- In charlesives@yahoogroups.com, Afmmjr@a... wrote:
> It is with great pleasure that I announce that the new CD of my
realization
> of the Charles Ives "Universe Symphony" has been manufactured with
32 pages of
> liner notes in color.  I believe one listen will make more of a
difference
> than anything that can be said on the list.
>
> My wish had been to supply a book with a finished score to go out
with the CD
> but they remain unpublished.
>
> To David, I could only hope that you open your mind up to different
> possibilities that those you saw in the last century (which
admittedly, isn't that long
> ago).  There is plenty of new information.  Simply send me your address
> off-list.
>
> This long march to release (on July 4th) is almost over.  I would
love to see
> reviews -- of all kinds -- here on the list.  For discovering
reasons "why"
> something was done, the unpublished book is recommended.  The
production and
> performance of this enchanted material will be a real rush.
>
> best, Johnny Reinhard

Do you know if this record will be available for Europe and especially
in France ?

Patrick

In a message dated 7/1/2005 3:02:22 PM Eastern Standard Time,
patrpetit@... writes:
Do you know if this record will be available for Europe and especially
in France ?

Patrick

The CD will be available internationally through the www.stereosociety.com
web site after July 4, 2005.

Johnny Reinhard  :)


[Non-text portions of this message have been removed]

--- In charlesives@yahoogroups.com, Afmmjr@a... wrote:
> It is with great pleasure that I announce that the new CD of my
realization
> of the Charles Ives "Universe Symphony" has been manufactured with
32 pages of
> liner notes in color.  I believe one listen will make more of a
difference
> than anything that can be said on the list.
>
> My wish had been to supply a book with a finished score to go out
with the CD
> but they remain unpublished.
>
> To David, I could only hope that you open your mind up to
different
> possibilities that those you saw in the last century (which
admittedly, isn't that long
> ago).  There is plenty of new information.  Simply send me your
address
> off-list.

I'm trying to figure out how to do that.  All I get is the partial
address you give here.  Try me at <portniek@...>.

Just please remember that yesterday I had this (I thought) great
rebuttal going until I hit the wrong key and lost an hour's worth of
fresh work, and looking for something to post gave me a splitting
headache until I decided to justr post part of that old 1995
article.  I still stand by what I say about editing the pages, and I
found my 1998 transcript last night (and my full performance score)

If there is as you say plenty of new information it has not come to
my attention.  (You'd think it would have.)

> This long march to release (on July 4th) is almost over.  I would
love to see
> reviews -- of all kinds -- here on the list.  For discovering
reasons "why"
> something was done, the unpublished book is recommended.  The
production and
> performance of this enchanted material will be a real rush.
>
> best, Johnny Reinhard
>
>
> [Non-text portions of this message have been removed]

I wish there was a way to post a MIDI file here...

Hello,

This email message is a notification to let you know that
a file has been uploaded to the Files area of the charlesives
group.

   File        : /Universe.mid
   Uploaded by : davidgrayporter <davidgrayporter@...>
   Description : "Universe" Section A in MIDI

You can access this file at the URL:
http://groups.yahoo.com/group/charlesives/files/Universe.mid

To learn more about file sharing for your group, please visit:
http://help.yahoo.com/help/us/groups/files

Regards,

davidgrayporter <davidgrayporter@...>

Hello,

This email message is a notification to let you know that
a file has been uploaded to the Files area of the charlesives
group.

   File        : /UniverseCoda.mid
   Uploaded by : davidgrayporter <davidgrayporter@...>
   Description : "Universe" Coda in MIDI

You can access this file at the URL:
http://groups.yahoo.com/group/charlesives/files/UniverseCoda.mid

To learn more about file sharing for your group, please visit:
http://help.yahoo.com/help/us/groups/files

Regards,

davidgrayporter <davidgrayporter@...>

I think I got them up here.  These two files are only the "Earth
group" for Section A and the Coda, as I haven't finished engraving
the "Heavens group" for either (there are voicing difficulties Im just
getting around to solving).  But "THIS IS WHAT IS THERE" on pp. 1-7
and 9-10 (plus the p.10 patch).
  - David

Here is mine:

(a bit heavy on musicians, but hey, music is the greatest gift of life
besides children...)

Charles Ives
Aaron Copland
Harry Partch
Miles Davis
Duke Ellington
Martin Luther King, Jr.
Susan B. Anthony
Frank Zappa
Thomas Edison
Charlie Parker

And the winner of the Biggest American Asshole Award goes to:

(drum roll)................George W. Bush

Congratulations, Dubya!!

Frankie

--- In charlesives@yahoogroups.com, "davidgrayporter"
<davidgrayporter@y...> wrote:
> I think I got them up here.  These two files are only the "Earth
> group" for Section A and the Coda, as I haven't finished engraving
> the "Heavens group" for either (there are voicing difficulties Im just
> getting around to solving).  But "THIS IS WHAT IS THERE" on pp. 1-7
> and 9-10 (plus the p.10 patch).
>  - David

You got them up here.  I'm not sure I have comments to make yet, as I
rarely feel comfortable enough to comment on music having only heard
it once, particularly when it's a bit more than just a homophonic pop
tune.  It's still quite an achievement realizing something of this
complexity, even with the availability of MIDI.

It strikes me odd that both Ives and Scriabin were working on similar
compositions at almost the exact same time.  A major difference is the
materials for Scriabin's Mysterium are in much greater disarray, and
Nemtin's "realization" of the work seems to bear as much resemblance
to it as Schuller's "realization" of "Chromatimelodtune": rather than
take the shortest route between two points, there comes an irrestible
urge to imagine what the composer _would_ have written, rather than
what was actually written.  Unfortunately, this can readily take us
into imagining what the composer would have written "if he knew what
he was doing," the approach the lovely Rimsky-Korsakov took to the
works of poor "incompitent" Mussourgski.

The issue with "Universe," of course, is what is the gulf between "did
write" and "would have written."  Many contend, most likely correctly,
the 10th Symphony of Mahler would have been a quite different work
than the Cooke Performing Version had Mahler lived to complete it
himself.  I recall the critic Martin Bernheimer even contended,
somewhat ignorantly, that "Lulu" could have been quite different had
Berg lived to complete it.

What seems to distinguish "Universe" from "Mysterium" and the other
"unfinished" works mentioned, is that "Universe" or
"Chromatimelodtune" did not remain unfinished because of their
composer's premature death.  Ives certainly had the opportunity to
finish both in the at least 35 years he had left after he began
composing them.

That he did not relates to a lack of desire to continue with them.  I
say continue as opposed to "finishing" them.  I recall several stories
  associated with Schoenberg on this same point.

When Berg had finished drafting the first movement of his Piano
Sonata, op. 1, and could not get started on a second movement, he
asked Schoenberg what it meant, and Schoenberg replied, "it means you
have said all there is to say."  Schoenberg himself left many works
"unfinished," notably, his opera "Moses und Aron," and his last work,
which I think is called "A Modern Prayer."

As with Ives, neither of these works were left unfinished because
Schoenberg died before doing so.  Even the last work was abandoned
about a half year before Schoenberg's death.  It is, and I think this
is evident if you listen to them, he really had nothing more to say.

Ives, himself, always talked of the Universe Symphony as something
that needed to be finished by someone else, because, by its very
nature, it shouldn't be the product of one man's work.  As I have
contended in earlier posts, it may have been Ives's desire to move
further and further ahead in musical innovation finally ran head first
into the brick wall of the limitations of his brain and/or of the
technology of the time to record and play back music.  In the "Essays
Before a Sonata," Ives makes a remark is it the composer's fault a
pianist only has ten fingers?  Indeed, had Ives lived in the days of
MIDI, a pianist could have had as many fingers as he desired.

The fact is, though, no MIDI or any other kind of synthesized music
was available to Ives when he was composing and from what I have heard
of "Universe," both from David's MIDI excerpt of his performing
version and the excerpts of Johnny's on the radio show he appeared on,
Ives's music seemed to be evolving to something beyond representations
of 19th Century America through an atonal prism (as the biographical
sketch preceding the Essays Before a Sonata contends).  He was not
moving toward Expressionism, of course, but something more akin to the
generation after the Second Viennese School, music of Messaien,
Boulez, and Stockhausen.

Of course, this is Ives, not them, and I could argue it's not hard to
accept the handling of the brass in "Universe" comes from the same
universe as the handling of the brass in Ives's First Symphony.  But
what there is of "Universe" makes it a different animal than the
"Fourth Symphony," which still is firmly connected to the music of
Ives's youth despite its unorthodox way of presenting it.

Ives's description of "Universe" as "uncompletable" (at least, by him)
seems an expression of just how far into unknown territory he knew he
was going.  Richard Strauss once commented that his generation was
impeded by "the shadows" of its time, and that they couldn't be leapt
over.  Ives, indeed, did leap over the shadows of his time, but it
seems even he couldn't leap much further.

So rather than think of "Universe" like Turandot or Mozart's Requiem,
I liken it to "Moses und Aron."  What Ives left of it was all he could
say, or perhaps better said, all he wanted to say.  This is pretty
much whatever any "completed" work of music is.  Graham Greene said
works of art are never finished, just released.  It is of paramount
importance to our further understanding of the greatness of Ives to
know just what he did release.

--- In charlesives@yahoogroups.com, "mhberest" <mhberest@m...> wrote:
>   A major difference is the
> materials for Scriabin's Mysterium are in much greater disarray, and
> Nemtin's "realization" of the work seems to bear as much resemblance
> to it as Schuller's "realization" of "Chromatimelodtune": rather than
> take the shortest route between two points, there comes an irrestible
> urge to imagine what the composer _would_ have written, rather than
> what was actually written.  Unfortunately, this can readily take us
> into imagining what the composer would have written "if he knew what
> he was doing," the approach the lovely Rimsky-Korsakov took to the
> works of poor "incompitent" Mussourgski.

I have to take issuew with this misconception of Chromatimelodtune.

The Schuller score is not an Ives piece -- it is a Schuller piece
based on Ives materials.

Ives sketched four pages -- the 4th is only a 2-beat variation on
arpeggiating the piano part, so I'm going to talk mostly about three
pages.  Pages 2 and 3 are rewrites and/or improvements on the melodic
parts of the first page.  He rejected page 2 and wrote on page 3 that
the Intro and piano part from page 1 was to be used with the 4 parts
on this page.  Page 4 was to be played four times through -- first
with Eb Cornet and Tuba )with piano), 2nd with both cornets and tuba
plus the trombone's intro of 8 measures (again with piano), third time
with clarinet on the Eb cornet part (no piano but string pizz. on the
chord in dotted-8th rhythm), and 4th time with everyone (all 4 parts
with Piano and drums).  And on the 1st and 3rd time there is a final
measure for both the Eb cornetr and the clarinet to use (Singleton's
score as recorded fails to use it on the first time through, but KS
has acnowledged in wrtitring this error and wishs it to be carried
out).  All these instructions are written out clearly enough for
anyone to read.

Page 1's 2 melodic parts are just a fancified chromatic scale up and
back.  Page 2 is an attempt at a fugue, and Page 3 is the final form
of the fugue.  Page 2 was rejected by Ives -- circled out for a "not
to be used" marking.  When Ives put together a bound book of
photostats for Jophn irkpatrick, he included pages 1 and 3, but not 2.

Schuller wanted to use everything and did not follow Ives's
intention.  See what he says in the book "An Ives Celebration."  There
certainly is NO indication from Ives that the fugue on page 3 is to be
set 1/3rd faster than any music or played against the first sketch of
the fugue.

The American Brass Quartet recording uses only page 3, but does not
follow the suggested use of Clarinet, although it does use the drum
part that Ives sketched out.  Only Kenneth Singleton's score follows
Ives intentions nearly to the letter.

I know this because I've studied this piece and Sington and I both
reached the same conclusion, he first.

David

Or perhaps you already know........ that Roberto Szidon's great performance of
Concord has been reissued on a 2-CD package which also includes his wonderful
Villa-Lobos as well as the Gershwin & Macdowell concertos - DG 477 5439
Tony

[Non-text portions of this message have been removed]

David, I hope I was clear in my post I didn't consider the Schuller
Chromatimelodtune to be genuine Ives.

Has anyone ever looked at the materials Puccini left behind for the
end of Turandot and seen if something different than the Alfano ending
was possible?

No less a personage than Luciano Berio.  Of course the
traditionalists hate it.  But it's very  interesting musically -
Berrio has the knack of sounding "like" a com poser" while still
sounding lkike himself.  In the Berio ending Tu7randot's personality
is explored so she's not simply a cold monster but aq vulnerable
human being (if screwed up).



Has anyone ever looked at the materials Puccini left behind for the
end of Turandot and seen if something different than the Alfano ending
was possible?





Yahoo! Groups Links






Anne
anne.ozorio@...

Is a recording available anywhere?

--- In charlesives@yahoogroups.com, "Anne Ozorio" <anne.ozorio@n...>
wrote:
> No less a personage than Luciano Berio.  Of course the
> traditionalists hate it.  But it's very  interesting musically -
> Berrio has the knack of sounding "like" a com poser" while still
> sounding lkike himself.  In the Berio ending Tu7randot's personality
> is explored so she's not simply a cold monster but aq vulnerable
> human being (if screwed up).
>
>
>
> Has anyone ever looked at the materials Puccini left behind for the
> end of Turandot and seen if something different than the Alfano ending
> was possible?
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
> Anne
> anne.ozorio@n...

Not that I know of, or I'd get it.  I've heard it broadcast though
and enjoyed it a lot.  Too "modern" for traditionalists (who wouldn't
like anything) but by not by "modern" standards as we'd relate to as
Ives lovers.   Berio respects and understands Puccini and develops
"from" the older composer, if you can figure what I mean.  If
anything he's less kitsch !   If you can locate a bootleg, please let
me know.

-------------------------------


Is a recording available anywhere?

--- In charlesives@yahoogroups.com, "Anne Ozorio" <anne.ozorio@n...>
wrote:
> No less a personage than Luciano Berio.  Of course the
> traditionalists hate it.  But it's very  interesting musically -
> Berrio has the knack of sounding "like" a com poser" while still
> sounding lkike himself.  In the Berio ending Tu7randot's personality
> is explored so she's not simply a cold monster but aq vulnerable
> human being (if screwed up).
>
>
>
> Has anyone ever looked at the materials Puccini left behind for the
> end of Turandot and seen if something different than the Alfano ending
> was possible?
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
> Anne
> anne.ozorio@n...





Yahoo! Groups Links






Anne
anne.ozorio@...

Here's some review of the Berio Turandot

http://www.andante.com/article/article.cfm?id=16426&highlight=1&
highlightterms=&lstKeywords=

http://www.andante.com/article/article.cfm?id=18536&highlight=1
&highlightterms=&lstKeywords=

and I found a recording !

http://www.guardian.co.uk/arts/critic/review/0,1169,1161853,00.html

This review, by Andrew Clements is very perceptive.  Now I have to
get the CD !!!!  Apparently, there's also a recording with Slatkin
which has the Berio act together with McPhee's  Tabuh-Tabuhan which
is an interesting combination indeed.

Thanks so much for raising this !  Not OT at all !




Anne
anne.ozorio@...

--- In charlesives@yahoogroups.com, "Anne Ozorio" <anne.ozorio@n...>
wrote:
> Here's some review of the Berio Turandot
>
> http://www.andante.com/article/article.cfm?id=16426&highlight=1&
> highlightterms=&lstKeywords=
>
> http://www.andante.com/article/article.cfm?id=18536&highlight=1
> &highlightterms=&lstKeywords=
>
> and I found a recording !
>
> http://www.guardian.co.uk/arts/critic/review/0,1169,1161853,00.html
>
> This review, by Andrew Clements is very perceptive.  Now I have to
> get the CD !!!!  Apparently, there's also a recording with Slatkin
> which has the Berio act together with McPhee's  Tabuh-Tabuhan which
> is an interesting combination indeed.
>
> Thanks so much for raising this !  Not OT at all

I read it and the other references.  There's even a brief excerpt you
can play on the UK Amazon site selling the recording.

It does sound like Alfano botched the completion.  Without going too
far afield, I would have to agree that the death of Liu is such a
hideous moment there's no way it couldn't cast a pall over the rest of
the opera.  That's probably why Puccini tarried on it for the two
years before his death.  Perhaps he didn't know how to make Turandot
into a human being and reconcile her and Calaf.  Perhaps he set an
impossible task, just as Ives began to do in his later incomplete works.

In any event, the way Berio ends Turandot sounds much more in tune
with what went before.  It surprises me critics complain about a
Schoenberg sound in Berio's completion.  Puccini was an admirer of
Schoenberg's and had attended presentations of his music.  And
certainly Schoenberg's influence is there in the music Puccini did
complete.  The tone clusters in the music surrounding the entrance of
Emperor Altoon are not Debussyan.
>
>
>
>
> Anne
> anne.ozorio@n...

--- In charlesives@yahoogroups.com, "mhberest" <mhberest@m...> wrote:
> David, I hope I was clear in my post I didn't consider the Schuller
> Chromatimelodtune to be genuine Ives.

I know, but this weekend I'm getting a bit riled about people who try
to "finish" things and don't know what they're doing.

Recently i have heard the Overture from Third Orchestral Set(PSO
conducted by Keith Clark -Varese Sarabande VCD 47211),i don't know
where finish Ives and where begins the reconstruction,but for me it's
a very fascinating music.I listen it over and over again.If the new
reconstruction is better than this, i will be very impatient to heard it.
Patrick

--- In charlesives@yahoogroups.com, "davidgrayporter"
<davidgrayporter@y...> wrote:
> --- In charlesives@yahoogroups.com, "mhberest" <mhberest@m...> wrote:
> > David, I hope I was clear in my post I didn't consider the Schuller
> > Chromatimelodtune to be genuine Ives.
>
> I know, but this weekend I'm getting a bit riled about people who try
> to "finish" things and don't know what they're doing.

I had the pleasure of crossing the Housatonic near Stockbridge
today(well on the Mass Turnpike), but had the misfortune to be too busy
to do more than reflect on Ives, his honeymoon and note what beautiful
country it is.

Last night I was in the back garden of a club in New York. There was a
radio playing there. A couple of doors down was a jazz club with an
African band and I could distinctly hear the percussion. At the same
time, there was another radio playing inside my club. Listening to the
three totally unrelated music sources, I naturally thought of Ives and
how unique he was  to recognize the beauty of such things and
incorporate them into his art. It occurred to me, once again, that he
was indeed visionary, but perhaps not always in the way he envisioned.
How common it is these days to hear multiple sources of music
simultaneously, all due to technology Ives abhorred, but the postman
whistling quarter tones never happened.

--- In charlesives@yahoogroups.com, "davidgrayporter"
<davidgrayporter@y...> wrote:
> --- In charlesives@yahoogroups.com, "mhberest" <mhberest@m...> wrote:
> > David, I hope I was clear in my post I didn't consider the Schuller
> > Chromatimelodtune to be genuine Ives.
>
> I know, but this weekend I'm getting a bit riled about people who try
> to "finish" things and don't know what they're doing.

Hey, I get riled about all the ersatz music passed of as genuine, such
as the commonly heard Boris Gudonov, Night on the Bare Mountain, or
even the Ravel orchestration of Pictures at an Exhibition.  How many
people have heard the original version for solo piano (in which, I
think, "The Great Gate of Kiev" sounds better than in Rave's version)?

Ladies and gentlemen, I hate to be the one to break it to you, but
yes, Moussorgski knew what he was doing.  As with CEI, all the wrong
notes were right.

--- In charlesives@yahoogroups.com, Douglas Jordon
<douglas_jordon@y...> wrote:
> I had the pleasure of crossing the Housatonic near Stockbridge
> today(well on the Mass Turnpike), but had the misfortune to be too busy
> to do more than reflect on Ives, his honeymoon and note what beautiful
> country it is.
>
> Last night I was in the back garden of a club in New York. There was a
> radio playing there. A couple of doors down was a jazz club with an
> African band and I could distinctly hear the percussion. At the same
> time, there was another radio playing inside my club. Listening to the
> three totally unrelated music sources, I naturally thought of Ives and
> how unique he was  to recognize the beauty of such things and
> incorporate them into his art. It occurred to me, once again, that he
> was indeed visionary, but perhaps not always in the way he envisioned.
> How common it is these days to hear multiple sources of music
> simultaneously, all due to technology Ives abhorred, but the postman
> whistling quarter tones never happened.

One thing I noticed in shopping malls at Christmas is how often you
hear different Christmas tunes played in different stores overlapping
each other, each in their own key and tempo.  This is actually
portrayed in the Department Store Santa scene in "A Christmas Story."

And yes, hearing those overlapping bits of prerecorded pap did remind
me of Ives, but I'm not sure Charlie would have objected as the result
was anything was usual.  These sorts of things were indeed the
inspiration for things like "Putnam's Camp," "Central Park in the
Dark," and "Hanover Square North."

Some postmen do whistle quarter tones.  Unfortunately, I doubt any of
them know they're doing it.

On Jul 4, 2005, at 10:38 AM, mhberest wrote:

> One thing I noticed in shopping malls at Christmas is how often you
> hear different Christmas tunes played in different stores overlapping
> each other, each in their own key and tempo.  This is actually
> portrayed in the Department Store Santa scene in "A Christmas Story."

Ah a Shep fan...

In a related note, I once interviewed John Cage - at the time, I was
editing a small journal about the I Ching in France, and, on a
holiday trip to NYC, set up an interview with him.

Cage was very old - around 80 (this was in 1986) and lived on 20th
street off 5th avenue. Most of the neighborhood was offices, small
garment companies, etc, and I remember how several of the windows
were open (it wasn't very cold that day) and the noise of the traffic
was wafting through the apartment. Somehow, this random noise seemed
to fit. (I actually thought that finally someone had discovered a way
to deal with city noise - just call it music!)


Kirk

               Read my blog: Kirkville -- http://www.mcelhearn.com
            Musings, Opinion and Miscellanea, on Macs, iPods and more
        Kirk McElhearn | Chemin de la Lauze | 05600 Guillestre | France

--- In charlesives@yahoogroups.com, Kirk McElhearn <kirklists@w...> wrote:
>
> On Jul 4, 2005, at 10:38 AM, mhberest wrote:
>
> > One thing I noticed in shopping malls at Christmas is how often you
> > hear different Christmas tunes played in different stores overlapping
> > each other, each in their own key and tempo.  This is actually
> > portrayed in the Department Store Santa scene in "A Christmas Story."
>
> Ah a Shep fan...

Absolutely.  Jean Shepherd was found of putting often quite modern
music in his various shows.  I recall the PBS Special, "The Great
American Fourth of July and Other Disaters" actually had a quote from
Varese's Ionisation.

I singularly doubt I will hear any Varese today, though.

>
> In a related note, I once interviewed John Cage - at the time, I was
> editing a small journal about the I Ching in France, and, on a
> holiday trip to NYC, set up an interview with him.
>
> Cage was very old - around 80 (this was in 1986) and lived on 20th
> street off 5th avenue. Most of the neighborhood was offices, small
> garment companies, etc, and I remember how several of the windows
> were open (it wasn't very cold that day) and the noise of the traffic
> was wafting through the apartment. Somehow, this random noise seemed
> to fit. (I actually thought that finally someone had discovered a way
> to deal with city noise - just call it music!)

Music is orderly noise.  Noise is disorderly music.  That is all ye
need know.

"That might be a wisecrack, but I doubt it."
--G. Marx

>
>
> Kirk
>
>               Read my blog: Kirkville -- http://www.mcelhearn.com
>            Musings, Opinion and Miscellanea, on Macs, iPods and more
>        Kirk McElhearn | Chemin de la Lauze | 05600 Guillestre | France

Hello and..
Happy 4th OF July to everyone.

Today i'am listening all Holidays's FOJ recordings from my collection
Strickland,Bernstein,Ormandy,Gielen,Hauschild,Tilson-Thomas,and Zinman .
Patrick

In a message dated 7/4/2005 4:44:53 AM Eastern Standard Time,
kirklists@... writes:
Somehow, this random noise seemed
to fit. (I actually thought that finally someone had discovered a way
to deal with city noise - just call it music!)

John Cage's work "Ten" for ten players and with a duration of 30 minutes is
very much the "sound of traffic."  The whole piece is accomplished by an octave
divided into 74 equal divisions.  If you enjoy NYC traffic, this is the piece
for you.

Johnny Reinhard


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