Re: [microsound] Dialtones - A Telesymphony

[bvasic <bvasic@xxxxxxxxxxxxxxx>]

Thanks for the in-depth response, it was both appreciated and intriguing.

The documentary which you site, was that the one produced by Clint Eastwood,
or am I thinking of the Thelonius Monk documentary?


Cheers

aLEKs



> > I wonder how he felt about the laughers.
>
> He was a laugher himself;  as a matter of fact, I have a video interview
> where the interviewer makes the point that he doesn't have the same
> attitude as other composers [those from Europe], who typically "suffer"
> long and hard for their music.  Cage, on the other hand, takes
> everything (or most of it) with a good laugh.  To illustrate this point:
> At some point in that video documentary (recorded in England, on the
> occasion of a series of concerts celebrating his 70th anniversary), he
> mentions he once told someone that one of his earliest dreams was to
> listen to every Prelude and Fugue from Bach's "Well-Tempered Clavier",
> but played *simultaneously*.  That person then asks him "aren't you
> afraid that'll be like white noise?" to which he replied, "I'm sure
> it'll be noise, but I doubt it'll be white!" with a resounding and long
> laugh.
>
> > I know he would insert objects and what not into the strings
> > of pianos, but i wonder what other methods did he employ to
> > get that wide range of sounds that he coaxed from the pianos.
> > Some of those drawn out whistles type sounds, loud
> > percussion, and drawn out drones have me curious as to how he
> > ahcieved this.  Anyone faniliar with the extent of which he
> > manipulated the paino?
>
> The prepared piano uses all sorts of objects (hard, soft, malleable,
> rigid, all sorts of materials) placed between strings or laid over them
> or even attached to the soundboard.  If initially he was rather free
> about giving directions on how to prepare the piano, he tended to be
> increasingly precise in later works.
>
> The work premiered in Donaueschingen, also Cage's first appearance in
> Europe, had other "utensils" beyond the prepared piano, in fact all that
> he and Tudor could think of that would not require using the hands, and
> hence the whistling and other sounds.
>
> Cheers,
> --
> Paulo Mouat
>
>
>
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