{"id":680,"date":"2017-11-28T08:28:02","date_gmt":"2017-11-28T08:28:02","guid":{"rendered":"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/?p=680"},"modified":"2017-11-28T08:28:02","modified_gmt":"2017-11-28T08:28:02","slug":"the-performance-of-silence","status":"publish","type":"post","link":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/assignments\/music-video-review\/the-performance-of-silence\/","title":{"rendered":"The performance of silence"},"content":{"rendered":"<p>My friends and I always make fun about playing John Cage\u2019s <i>4\u2019 33\u201d <\/i>for the recitals, but unfortunately, none of us have done it so far. It seems that <i>4\u2019 33\u201d <\/i>is the easiest piece to play, and the musicians do not have to practice before the performance since the whole piece is filled with tacet. Also somehow, we do not hear <i>4\u2019 33\u201d <\/i>very often in the concerts, even though it is a very well-known music repertoire by John Cage. At least, I haven\u2019t heard any live performance for this piece.<\/p>\n<p>John Cage is a leading American composer in \u201cchance\u201d music area\/music in indeterminacy, and he composed his famous \u201csilent\u201d piece <i>4\u2019 33\u201d <\/i>in 1952. <a href=\"http:\/\/rosewhitemusic.com\/piano\/writings\/silence-taught-john-cage\/\">David Tudor played the world premiere of the piece on the piano<\/a>, and he sat in front of the piano, closed the lid during the movements and set the timing for each movement\u2014the first movement is 33\u2019\u2019, the second movement is 2\u2019 40\u2019\u2019 and the third movement is 1\u2019 20\u2019\u2019. After the last movement, David Tudor closed the lid and walked off the stage. Overall, it was a very formal and serious performance.<\/p>\n<p>Many years ago, I also imagined how I would perform John Cage\u2019s <i>4\u2019 33\u201d <\/i>on the piano, and I thought the only thing I needed to do is to not play any note. However, after I watched a lot of videos of this piece, I got shocked by different interpretations from various musicians besides just being silent for four minutes and thirty three seconds. The video performed by Japanese Orchestra\u2014K2Orch\u2014is one of the greatest performance on Youtube, and I think it is an amazing live performance with a violin soloist that I can find online for <i>4\u2019 33\u201d<\/i>. As we know, <a href=\"http:\/\/classicalwcrb.org\/post\/silence-illusion#stream\/0\">the performance can\u2019t be totally silent<\/a> since every sound and noise from the audience and the natural environment is enlarged at the moment. Thus, what happened to the performance of <i>4\u2019 33\u201d<\/i> by K2Orch?<\/p>\n<p><iframe loading=\"lazy\" title=\"4&#039;33&quot; John Cage(Orchestra with Soloist, K2Orch, Live) \/ 4\u520633\u79d2 \u30b8\u30e7\u30f3\u30fb\u30b1\u30fc\u30b8 \u3051\u3064\u304a\u3051\uff01\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/Oh-o3udImy8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The soloist started to walk on the stage first and the conductor\u2014Yusuke Ichihara\u2014walked after her, and the audiences were keeping clapping when they were walking. I am not sure if the audiences already had the background knowledge of the piece or they already heard the piece before, but I can tell the applause showed their generous welcome. After all the greetings between the conductor and the concertmaster, the conductor and the soloist and so on, the orchestra sat down and the soloist began to tune the violin. Until now, all the processes were same as other music repertoires. After the soloist tuned her instrument, she gave the nod to the conductor to inform him that she was ready. The conductor gave the prep and the down beat, and then the \u201csilent\u201d music started. Thirty three seconds later, the conductor gave the cutoff, and it showed the end of the first movement. Then, the instrumentalists and the conductor took a few seconds break before the second movement started. No one clapped during this time, and it just seems that all the audiences knew <i>4\u2019 33\u201d<\/i> is a three movements piece.<\/p>\n<p>After the conductor gave the prep and the down beat again, the second movement began formally. However, it is very clear that the second movement is a slow movement and it might be adagio because the conductor gave the softer, slower and more smooth prep than the first movement. Two minutes and forty seconds later, the conductor gave a very beautiful cutoff and the release\u2014the second movement was done. Same as taking few seconds break between the first movement and the second movement, after the very short break, the third movement began. I know the last movement is allegro and the dynamic probably should be forte, since the prep from the conductor was more powerful, faster and stronger. After a minute and twenty seconds and the cutoff from the conductor, the whole piece was over. The audiences clapped loudly, and the applause presented that they really enjoyed the performance.<\/p>\n<p>I had to say K2Orch did a fantastic job on this piece. I timed the durations for each movement when they were performing, and all three movements are finished perfectly on time. Actually, stoping on time is not easy to do, even though the players use the watch to keep the time. For example, the performance of William Marx,<\/p>\n<p><iframe loading=\"lazy\" title=\"John Cage&#039;s 4&#039;33&quot;\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/JTEFKFiXSx4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>he played the first movement as 30\u2019\u2019, instead of 33\u2019\u2019, the second movement was 2\u2019 23\u2019\u2019, rather than 2\u2019 40\u2019\u2019, and the last movement was 1\u2019 40\u2019\u2019, though John Cage wrote 1\u2019 20\u2019\u2019. Also, the Japanese audiences showed their high respectful for the performers in the video. It is very obvious that they were trying to be very quiet and to not make any noise until the short breaks between the movements\u2014the audiences coughed and moved, even though there was a baby kept crying during the movements. But, since it is a recording of the live, I also can clearly hear the frequency\/noise from the recording equipments. Therefore, the \u201csilent\u201d music is not absolutely silent.<\/p>\n<p>If I have to give one suggestion to the performance, I would say maybe the players can be in the performing positions, such as putting or holding their instruments up. So the conductor would not be the only person showing the status of the performance, but also the instrumentalists. Interestingly, this is how the EBU Euroradio Orchestra performed John Cage\u2019s <i>4\u2019 33\u201d<\/i>.<i>\u00a0<\/i><\/p>\n<p><iframe loading=\"lazy\" title=\"EBU Euroradio Orchestra performs 4&#039;33&quot; by John Cage\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/OovYr0w7BMA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Reading through the comments of the video by K2Orch, many of them are funny, ironic and casual, even though the performance is formal and fabulous. For example, \u201cThe second violin sounded a little out of tune to me\u201d, \u201cI\u2019m 18 and it took 30 years for me to master this song\u201d, \u201cand people pay to hear this\u201d, \u201cDo you think they rehearsed the piece!\u201d, \u201cExcellent performance, though I still prefer the Berliner philharmoniker one with Claudio Abaddo. If anyone has it, please post.&#8221;<\/p>\n<p><a href=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG21-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone  wp-image-683\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG21-1-300x85.jpeg\" alt=\"\" width=\"300\" height=\"85\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG21-1-300x85.jpeg 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG21-1.jpeg 388w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><a href=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG20.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-684\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG20-300x81.jpeg\" alt=\"\" width=\"300\" height=\"81\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG20-300x81.jpeg 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG20.jpeg 514w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><a href=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG19-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-688\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG19-1-1024x181.jpeg\" alt=\"\" width=\"525\" height=\"93\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG19-1-1024x181.jpeg 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG19-1-300x53.jpeg 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG19-1-768x135.jpeg 768w, https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG19-1.jpeg 1270w\" sizes=\"auto, (max-width: 525px) 100vw, 525px\" \/><\/a><a href=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG18-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone  wp-image-687\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG18-1-289x300.jpeg\" alt=\"\" width=\"341\" height=\"354\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG18-1-289x300.jpeg 289w, https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/11\/WechatIMG18-1.jpeg 706w\" sizes=\"auto, (max-width: 341px) 100vw, 341px\" \/><\/a><\/p>\n<p>In my opinion, there are three reasons caused these comments and reactions from the most audiences. Firstly, during the real performance, the ideal meaning of being silent always conflicts with the inevitable noise, and a lot of time people think <a href=\"https:\/\/www.npr.org\/2000\/05\/08\/1073885\/4-33\"><i>4\u2019 33\u201d <\/i>is a joke because of those unexpected noise<\/a>, though it is not. Secondly, the function of the composer being more vague in \u201cchance\u201d music, and unusually,\u00a0<a href=\"https:\/\/www.cmuse.org\/john-cage-433-music-or-silence\/\">the audiences get involved in the compositional process<\/a>. Finally, the lack of programme-notes or background stories make the audiences hardly to understand the music. For instance,<a href=\"https:\/\/books.google.com\/books?id=5DKiUOw519oC&amp;pg=PA11&amp;dq=music+imagination+and+culture+John+Cage+4%2733%27%27&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwjn_-uxt-DXAhVFQt8KHVE0ChQQ6AEIJjAA#v=onepage&amp;q=music%20imagination%20and%20culture%20John%20Cage%204'33''&amp;f=false\"> in John Cage\u2019s book <i>Silence <\/i>(cited from\u00a0<i>Music\u00a0imagination and culture\u00a0<\/i>by Nicholas Cook, page 11),<\/a> he explained his imagination of <i>4\u2019 33\u201d <\/i>and the third movement is in A-B-A form.<\/p>\n<p>John Cage said, \u201cThe most important piece is my silent piece.\u201d And it is true that we can hear his philosophic thinking in <i>4\u2019 33\u201d<\/i>\u2014music as indeterminacy. Being one of the wonderful recording, K2Orch presents high quality of the performance and the real and live reactions from the audiences. Since John Cage believes Zen Buddhism and uses <i>I Ching<\/i> (Taoism), I believe that he might also want to explain the idea of \u201cnothing means something\/silence is not silent\u201d in his music, besides \u201ceverything is natural and random\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>My friends and I always make fun about playing John Cage\u2019s 4\u2019 33\u201d for the recitals, but unfortunately, none of us have done it so far. It seems that 4\u2019 33\u201d is the easiest piece to play, and the musicians do not have to practice before the performance since the whole piece is filled with &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/assignments\/music-video-review\/the-performance-of-silence\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The performance of silence&#8221;<\/span><\/a><\/p>\n","protected":false},"author":30,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[337,336,340,338,339],"class_list":["post-680","post","type-post","status-publish","format-standard","hentry","category-music-video-review","tag-4-33","tag-john-cage","tag-noise","tag-orchestra","tag-silence"],"_links":{"self":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/users\/30"}],"replies":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/comments?post=680"}],"version-history":[{"count":1,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts\/680\/revisions"}],"predecessor-version":[{"id":691,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts\/680\/revisions\/691"}],"wp:attachment":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/categories?post=680"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/tags?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}